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Tag "citySensing"

Twitter data is becoming a new rawmaterial for representing cities. Visualisations are being produced frequently. The latest addition comes from Trendsmap the online platform visualising emerging Twitter trends.

The guys have produced visualisations for a number of cities from around the world plotting locations of georeferenced tweets. The series is called Paint a City by Numbers and so far covers only a doyen places, but is poised to grow with Trendsmap having access to a lot of Twitter data through heir service.

Trendsmap painting cities, Melburne
Image taken from trendsmap / Painting the city of Melburne using geolocated tweets.

Trendsmap painting cities, Sydney
Image taken from trendsmap / Painting the city of Sydney using geolocated tweets.

These sort of maps we have seen already for examples in the work of Eric Fischer. Still it is always amazing as to how much detail the maps actually contain with streets completely covered. For example in the map painted of the area around Amsterdam in this example HERE, the main roads draw out in amazing detail.

However Trensdmap have added also specific features. One of the fascinating ones is the airport. Here on urbanTick we have pointed out a number of times how different urban features draw out specifically in the city fabric and the airports are definitely a special case.

The Trendsmap guys have plotted data for the area around the Atlanta International Airport and the resulting creepy crawly bug structure is amazing.

Trendsmap painting airports, ATL
Image taken from trendsmap / Redrawing the airport of Atlanta ATL, actually the busiest airport in the world in 2011.

Trendsmap painting airports, SFO
Image taken from trendsmap / Redrawing the international airport of San Francisco resembling the shape of a spider using geolocated Tweets.

Via GoogleEarthBlog.com

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In a new book Sentient City: Ubiquitous Computing, Architecture, and the Future of Urban Space Mark Shepard presents a discussion on the current state of the art of ubiquitous computing showcasing a range of five projects together with a series of essays around the topic of the sentient city in the sense of a responsive and ‘intelligent’ city. It is published by MIT Press with the Architectural League of New York.

The book grew out of an exhibition ‘Towards the Sentient City‘ presenting a whole range of investigative projects. This was supported by the Architectural League New York. For the exhibition the curator Gregory Wessner summarised the aims as: “For many, it is a leap of the imagination to think that a microprocessor the size of your fingertip, or the mobile phone in your pocket, can meaningfully affect the shape of the room you’re sitting in, let alone a city’s skyline. At a moment when new digital technologies seem to be dematerializing more and more of the world around us (think books, CDs, photographs), what impact can they possibly have on the insistent materiality of buildings and cities?”

The book offers a range of five case studies which each have a specific focus and of course essentially build on concepts of pervasive technologies. They are:
Amphibious Architecture by the Living with Natalie Jeremijenko on visualising water quality.

Natural Fuse Haque Design+Research
Image taken from SentientCity / Project Natural Fuse – Experiment with wilting plants by intermittent/PWM water delivery.

Natural Fuse by Haque Design+Research on sourcing plants for energy. The plant in this project acts as a sort of distributor to encourage energy sharing. Energy is distributed through the plant, but only if consumers share it nicely the plant is happy and can grow letting the consumers use more energy. If they don’t share the energy use kills the plant and consumers can use less energy.

Trash Track‘ by the MIT on tracking trash’s end-of-life journey. Using smart tags the team tracked the route of trash, from the point of deployment, a bin presumably, all the way though the cities waste management system. This is how it works: “TrashTrack uses hundreds of small, smart, location aware tags: a first step towards the deployment of smart-dust – networks of tiny locatable and addressable microeletromechanical systems. These tags are attached to different types of trash so that these items can be followed through the city’s waste management system, revealing the final journey of our everyday objects in a series of real time visualizations.”

Trash Track by the MIT
Image taken from spatiallyrelevant / A track of a plastic bottle in New York City through the City’s waste management system.

Too Smart City‘ by Davis Jimison and Joo Yoon Paek on ‘intelligent’ street furniture. The street furniture is equipped with a lot of technology and robotics and set to augment the context they are acting within. They are however, programmed to surprise and interrupt and with it chalenge our expectation of what furniture should be doing. They have for example developed a bench that can trow people of or a sign that changes direction.

Breakout!‘ by Anthony Townsend on the city as office. They are injecting light wight structures into the urban realm providing essential working infrastructure and with this allowing for impromptu meet-ups through social networking software.

In the second part of the book the topics around the sentient city are explored in a series of 10 essays. There is a very interesting group of people contributing with for example Saskia Sassen and Kazys Varnelis who wrote the Infrastructural City book.

The discussion around the role of ubiquitous computing in urban design and the present of a possibly sentient environment is definitely something that is going to influence the debate on cities and urban environments for the next years. This book picks up from where it experimenting stands today and leads thoughts towards how this could be substantially integrated in future practice of urban design.

Trash Track by the MIT
Image taken from archleague / Book cover showing the heat sensitivity of the colour used.

Shepard, M., 2011. Sentient City: Ubiquitous Computing, Architecture, and the Future of Urban Space, Cambridge, MA: MIT Press.

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What could brighten up the daily gray commutes back and forth between nowhere and somewhere? Well I guess a game coud actually, but card games are not a big hit during rush hours and playing on the iphone or DS is about as lonely as it gets. Lets play the system.

Chromorama is a multiplayer platform that does exactly this. It animates your bleak journey as a move in the game. The whole tube network i the borad and any tap in, tap out recorded with the oyster card is a move in the game.

After a test phase last year they launched a public beta version that is now open for signing up. So far the network for players was focused on the tube network. However this has been extended to include the London Bike Scheme. When ever you check in and out your bike this now also counts as game moves.

Screen grab of October player view3
Image taken from chromorama blog / The final view is an overall global view which give the player an overivew of all the team activity. I particularly like this one becuase it has a corporeal quality and the odd look of it. Like blood pumping around the heart of the city. The players powering a metropolis, a beast coming to life, like Frank emerging from the floorboards in “Hellraiser”.

Just recently the whole visual have been reworked and it looks juicy now. ALso the mission and activities the players can participate on have been extended it looks like a lot of fun. There is for example the ‘Ghost Hunter’ mission. Currently set to “Visit Becontree between 11:00 PM and 01:00 AM within 5 days Becontree is rumoured to be haunted by a faceless woman with long blonde hair, spotted on numerous occasions by the staff there. Go there late at night, and hope you don’t see her…”

Screen grab of October player view3
Image by wearemudlark / Screen grab of October player view3.

In a sense the whole of the public transport network could become a playground and each yellow tap in point a gaming button. Commuting is about to become fun and tfl wil now make your day rather than ruin it. With this move to incorporate a fun aspect, the perception of routines is transformed and a different kind of motivation can swing the direction.

This is to some extend the vision of ‘You Are the City’ put into practice. The ‘user’ becomes a ‘player’ in the sense of an actor. This change of role definition probably makes the whole difference. Of course aspects of size and relationship help with this one.

You got the taste? Sign up HERE.

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If we start with Petra Kempf’s publication ‘You Are The City‘ we jump straight into the discussion about the personal expression in the urban environment. Clearly this has become dramatically individualised and
and citizens have grown into roles as independent user, aspiring for flexibility and uniqueness.
The technological development in the recent years, month actually, is fuelling these developments. Here individuality turns into solitary and disconnectednes with the latest app telling you whats happening around you. Interaction becoming the biggest thing as long as we don’t need to talk to anyone.

The urban landscape is turning from a servicescape in to a stagescape for individuals to produce themselves as the latest celebrity. Interaction becomes one directional, the famous show off to be looked at, the ultimate aspiration.

The individualisation obviously is a very big topic in the media and some recent project are quite cleverly employing this trend to the point of questioning its real existence.

For example the current aviva campaign puts the individual in to the centre. On the website http://www.youarethebigpicture.com/ they started a collection of portraits, with the option to draw in your facebook image, as a representation of personal commitment and support. The great thing is the personalised video clip everyone gets as a sort of gift. The uploaded image is embedded in the clip and everyone has the chance to appears big in the city.

In fact aviva actually is running live projections of the submitted images in cities around the world. Some have ended, but on the page you have access to the recorded time lapse.

Another effort is made by the Dentsu London media company. They have recently had some really exciting project utilising the latest technologies with quite visionary content. See for example the iPad illumination clip.

THey were also looking into the personalisation of the city environment and visualised their ideas in two animated clip, sort of augmented visualisations. Their claim goes beyond the content, but this doesn’t matter at the moment I guess.

The basic idea is to utilise and augment existing objects and surfaces with personalised content and information. The desire to keep up to date with the latest social networking news, updates, notifications and tweets. Some of the idea are quite interesting, especially the ones that aim at linking the individual back to the physical context. It is very simple, but for example the Dentsu train ticket idea is a different take on the location awareness trend.

There is a lot of potential in this trend to personalise the everyday environment. There might be individual benefit and surprises to be discovered for everyone. However it might be not as new as it would like to be. But it is certainly a new take on the everyday routines and a chance to embed it with the aspired independence and individuality of our current culture. Definitely the city is the playground.

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The urban context directly shapes our experience of the city. As we make our way down to the bus stop the sun rays falling through the leave canopy bouncing on the shiny metall of the railing burn an image in your memory and evoke a smile on your lips. Breathing can be difficult down below underground in a full tube carriage, while trying not to fall over and clinging on to a handle. In the evening the feet burn from walking for miles across the tarmac. An still while closing the eyes the pattern of walkway slabs disappearing beneath the steps flicker by your eyes while lying in bed.
Exploring the city as a flaneur in the sense of the Situationist’s can multiply these experiences. And this body city interaction has been subject to a number of investigations in different disciplines from architects, planner, geographers and artists. How does this excitement, pain or tiredness visualise? How does the city inscribe its extension on the human body?
In the bio mapping work of Christian Nold the excitement was registered via a Galvanic Skin Response and later plotted on a map.

Image by Gordan Savicic taken from yugo.at / The resulting marks on the artist's body as  record of the network activity.
Image by Gordan Savicic taken from yugo.at / The resulting marks on the artist’s body as record of the network activity.

In the project “The pain of everyday life” the artist Gordan Savicic goes a step further and directly ‘inscribes’ the parameters on the human body as an intensified transformation. His responsive fetish corset translates urban communication network signals into physical compression. The wearer is squeezed according to the signal strengt of surrounding WI-FI access points. Depending on the area this can feel quite squashed.
‘A chest strap (corset) with high torque servo motors and a WIFI-enabled game-console are worn as fetish object. The higher the wireless signal strength of close encrypted networks, the tighter the corset becomes. Closed network points improve the pleasurable play of tight lacing the performer‘s bustier.'(yugo.at)
The resulting pain map is recorded and can be rendered into a general tourist city map. A set of maps are available, but more interesting might be the experience of accelerated sensing.

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The city experience is a web of connected networks and multi layered threaded paths that condition us to the emotional state of the city space. In essence, the city fabric is a giant multi user multi data sphere. To take part you really have to put something back in, that’s like life. In this case, to take part you have to input data so others ‘may’ see the output of the data response. One day we all be tracked, our ID in our passports with rfid chips, implants in our arms and new software in skies. One day aliens will arrive and having heard our call they will eat us. One day, one day…….one thing is for certain things do change.

The Mother of Big Brother

Imagine walking out the door, and knowing every single action, movement, sound, micro movement, pulse, and thread of information is being tracked, monitored, stored, analyzed, interpreted, and logged. The world we will live in seems to be a much bigger brother than the Orwellian vision, its the mother of big brother.
Can we use new technologies to imagine a world where we are liberated and empowered, where finally all of the technology becomes more than gimmick and starts to actually work for us or are these technologies going to control us, separate us, divide us, create more borders. Will the securitzation of city space create digital borders that monitor our movement and charge us for our own micro movements inside the system.

Image by Stanza / Sensity on a round globe display tested at County Hall London (Live data on globe 2006)
Image by Stanza / Sensity on a round globe display tested at County Hall London (Live data on globe 2006)

Real time.

There is a argument to opening up the level of control and responsibility in the system. It is a good argument until something changes, the passwords change, the building goes private, and every single piece of data is used for something that it wasn’t intended for. Some things change for the better but sometimes they don’t; one thing is for sure; things change.

My focus is on the things that change, the flow, the data that describes our experience of the city as space. Data from all sides in systems that can be mediated by all, with varying visualizations communicated over the internet and represented onto different display systems. Recurring themes throughout my career include, the urban landscape, surveillance culture and alienation in the city. I am particularly interested in real aspects of the city. Although there are theoretical aspects to my work my works is practise based……in other words I make stuff. It is through this process of research that I find my next questions.

Image by Stanza / Above image shows xml data from London and Copenhagen mashed up together to form a mixed merged city space. Stanza 2008
Image by Stanza / Above image shows xml data from London and Copenhagen mashed up together to form a mixed merged city space. Stanza 2008

My wireless sensor networks are set up to visualize cities as ‘worlds’ full of data, a city of bits. These new data-spaces can help us understand the fundamentals of our outside environment.

Image by Stanza
Image by Stanza

In Sensity I have visited ten world cities and made visualisations. This artwork is made from data that is collected across the urban and environment infrastructure ie from the city. My aim is to re-engage with the urban fabric and enable new artistic metaphors within city space. The sensors are positioned across the city. Custom made software now enables these sensors to communicate will one another in a network over a proxy server in real time. Control to the hardware is opened up. The data is then turned into online real time visualizations of the space.

This work opens up a discourse about networks and surveillance technologies. The ownership and interrogation of public domain space is opened out where anyone can view all the data in these networks. This work aim to reclaim the city which is remade as a real time virtualised space belonging to all.

Sensity can also be shown / exhibited as an installation and projected ie, making a display based on the net based interfaces using the data collected. Sensity can also installed permanently for a longer period in rural or urban space.

The changing data is what affects what you see and experience. The flash interfaces reflect these real time changes in the interactive city space. This is open source so other academics, urban designers, researchers as well as artists can make use of the data. The sensors monitor temperature, sounds, noise, light, vibration, humidity, and gps. The outputs from sensors are also visable on google maps. The social space is opened up into a real time flow space, a new virtualized data space emerges. see http://www.soundcities.com/data.php

Image by Stanza
Image by Stanza

Stanza Artworks using urban sensors.

House
A dynamic public sculpture viewable over the internet. House describes the space, a real Victorian terraced house, in this case, that the artist lives in. In “House”, the private interior has been made public. The sensor data unfolds and discloses the inherent properties of the space, creating an online artwork visualisation. The environment is disclosed and made public opened up and made transparent.

Gallery
Gallery describes the space, in this case the upper gallery in Plymouth Arts Centre, England. Made during an artist in residency project in situ in the gallery space during feb 2008. “Gallery”, is part of a series of process led experiments in data visualization within the context on an art gallery. Stanza asks, “what happens during the process of visiting the gallery as a dataspace”; ie what happens to the gallery and what do the visitor do? The gallery laid bare as a work of art. Gallery proposes that the data is art. The art is a real time flow of the things around us that allow our senses to invoke understanding. The gallery space becomes the art described by the shifts in light, temperature and noises in the space over time.

Field. Tree. Park. Lake.
A series of sonifications and visualisations of landscapes. The landscape becomes virtual, dynamic, and encoded. I am trying to disclose the underlying data that we see that is changing all the time in front of us. The sounds you hear are streams of data acquired and processed in custom made software from thirty motes sensors; this is changed into sounds. The squiggles or painterly stuff on the image is a response to the changing light, temperature, noise, humidity and pollution of the landscape….which is also fixed by its gps position.

Image by Stanza
Image by Stanza

Sonicity.
Sonicity is a responsive installation, a sonification of the space. The system monitors the space (the building) and the environment (the city) and captures live real time data ( light , temperature, noise, humidity, position) to create an ambient sonification, an acoustic responsive environment, literally the sound of the micro incidents of change that occur over time. The interactions of all this data are re-formed and re-contextualised in real time as a audio experience. Hundreds of small speakers are wired together and an installation is made across the available space.

Image by Stanza
Image by Stanza

Capacities.
An installation responding to changes in the environmental data. There are electronic components all over the floor. (Fans, Lead, Soleniods, Motors) these move only in response to a wireless sensor network of 40 motes deployed in the gallery and across the environment. The light temperature, noise, humidity of the space and the city. As this data changes this wired city changes. That is the physical world is made virtual and them made real again. IE fans turn when the temperature changes, motors turn when the light changes. This whole piece is a living and breathing city. The real city captured made virtual and made real in another form.

Image by Stanza
Image by Stanza

Facade.
An interactive responsive architecture linked to the culture of the AOF Nova building within the city of Trondheim, Norway. The objective is for the Nova building to become the focus and the centre of a new social space harvesting data and information from across the city. The facade presents the emotional real time state of the city by using live data and CCTV images to represent the Nova Building as a living breathing entity. Using custom made software the artist will interpret the data collected into the artworks that are incorporated into the display. Exciting use of the Texlon envelope can be integrated manipulate surface quality, with laminate LEDs allows the creation of envelopes of almost infinite visual variety and interest. The surface can be designed to capture projected light for displaying images, video or colour. Each layer can be engineered to transmit, reflect or scatter the image, enabling the full exploitation of the envelope to operate as a visual panorama.

Image by Stanza
Image by Stanza

Disclaimer – All rights reserved. The copyright for any material published on this website is reserved. Any duplication or use of objects such as images, diagrams and texts is not permitted without Stanza’s written agreement.
© Copyright stanza 2004-10. www.stanza.co.uk

This Guest post by Stanza forms part of the discussion in the urbanTick series on Ecological Urbanism.

Stanza is an internationally recognised artist, who has been exhibiting worldwide since 1984. His artworks have won prestigious painting prizes and ten first prize art awards including:- Vidalife 6.0 First Prize. SeNef Grand Prix. Videobrasil First Prize. Stanzas art has also been rewarded with a prestigious Nesta Dreamtime Award, an Arts Humanities Creative Fellowship and a Clarks bursary award. His mediums include; painting, video, prints, generative artworks and installations. Stanza is an expert in arts technology, CCTV, online networks, touch screens, environmental sensors, and interactive artworks. Recurring themes throughout his career include, the urban landscape, surveillance culture and alienation in the city.

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In their role as climate change canaries, clouds are both more prevalent and closer to home than Arctic ice-caps or polar bears. Cloud patterns have long been read as short-range weather indicators, but more recently they have begun to be seen as longer term climatic signals. Their messages are far from clear, however, and so far little is certain about the roles that clouds are likely to play in shaping future conditions on earth.
Will clouds turn out to be agents of warming, veiling us in an ever-thickening greenhouse of emissions, or will they end up saving the day by reflecting ever more sunlight back into space? These, it turns out, are far from simple questions, and cloud behaviour continues to offer serious impediments to understanding future climates, since a change in almost any aspect of clouds, such as their type, location, water content, longevity, altitude, particle size and overall shape, changes the degree to which clouds will serve to warm or cool the earth.

As is so often the case with climate science, research yields apparently contradictory results. On the one hand, for example, many climate scientists believe that continued surface warming will cause increased water vapour to rise from the oceans, leading to an overall increase in cloud formation — while on the other hand, particularly in warmer latitudes, an increase in the water vapour content of our atmosphere could see large convective cumuliform clouds building up and raining out far quicker than they do at present, thereby leading to a net decrease in the earth’s total cloud cover. Low-level stratiform clouds, meanwhile, tend to shield the earth from incoming solar radiation, but recent research has shown that such clouds are more likely to dissipate in warmer conditions, thus allowing the oceans to heat up further, and causing yet further stratiform cloud loss. Scientists currently have no idea which of these outcomes is the most likely, nor do they really know the kind of long-term influences that either is likely to have. Even if, for the sake of argument, it’s assumed that overall cloud cover will increase as the surface of our planet continues to warm, it remains unclear what kind of clouds (and thus what kind of feedback mechanisms) are likely to predominate.

For instance, high, thin clouds, such as cirrostratus, tend to have an overall warming effect, as they admit shortwave solar radiation in from above, while bouncing longwave back-radiation (reflected from the sunlit ground) back down to earth. Any increase in cirrostratus cloud cover would therefore add another warming mechanism to our climate. In contrast, however, bright, dense cumulus clouds serve to cool the earth by reflecting incoming sunlight back into space by day. At night, these same clouds tend to exert a slight warming effect, by absorbing or reflecting back-radiation, but their overall influence is a cooling one, especially when their summits grow dense and white. So, in theory, an increase in high, thin clouds would amplify the global warming effect, while an increase in low, dense, puffy clouds would have a contrary cooling effect — which is why cloud-whitening has recently been advanced as a geo-engineering idea for mitigating the effects of climate change, with salt water to be sprayed from thousands of ships in order to create brighter and more reflective clouds over the oceans. In reality, of course, things are never that simple, and clouds have always had an interesting habit of behaving in unpredictable ways.

For example, after the terrorist attacks of 11 September 2001, all commercial flights in the United States were grounded for several days, leaving the skies contrail-free for the first time in decades. The result, according to a comparison of nationwide temperature records, was slightly warmer days and slightly cooler nights than were usual for that time of year, the normal night/day temperature range having increased by 1.1 degrees C. According to the climate scientists who worked on the data, this was probably due to additional sunlight reaching the surface by day, and additional radiation escaping at night through the unusually cloudless skies. At first sight this might seem counter-intuitive, for surely the kind of cirriform clouds created by the spreading of aircraft contrails are straightforward warming clouds, the kind that allow sunlight through, while bouncing back-radiation down to the lower atmosphere? Surely an absence of contrails ought to have an overall cooling effect?

But contrails are a lot more complicated than that, because when they are in their initial, water droplet, stage they are denser than natural cirrus clouds, since they are created from two distinct sources of vapour: the moisture emitted by the aircraft’s exhaust, and the moisture already in the atmosphere, all of which is condensed into a turbulent mixture of large water droplets and ice crystals, seeded on the solid particulates present in the exhaust plume. At first, this young contrail behaves more like a fluffy low-level cloud, reflecting sunlight back into space, and exerting a short-term localized cooling effect. But if persistent contrails start to spread, they thin out into cirriform cloud layers, which can often cover large areas of sky. Their overall effect then reverts to a warming one, consistent with the known behaviour of natural cirriform clouds.

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Image taken from NASA / Contrails over the southeastern U.S. January 2004

The picture is complicated yet further by the time of day that the contrails form and spread. If contrails spread during the early morning or late evening, they can exercise a slight cooling effect, due to the angle at which sunlight is reflected off the ice crystals into the upper atmosphere. At night, by contrast, all clouds, including contrails, can only exert a warming effect, since there is no incoming sunlight to reflect into space. Any increase in night flights is therefore likely to raise temperatures on the ground: and that increase is already well underway. In fact, the projected warming effects associated with the rise in night flights are in the region of a 0.2-0.3 degrees C hike per decade in the United States alone — and this figure does not include the other warming effects of aviation, such as increased CO2 emissions and local ozone formation. Of course, much about contrail science remains new and uncertain, and little about these man-made clouds is understood entirely, especially when it comes to the skies above the developing world, where flights are becoming increasingly prevalent. But the difference between the skies above busy flight corridors and those above sparsely flown areas is clearly visible from space. Whether aircraft of the future will need to change the altitudes or times of day at which they fly in order to modify their contrail formation is a matter of current speculation; as David Travis, the atmospheric scientist who led the post-9/11 contrail research, has pointed out, ‘what we’ve shown is that contrails are capable of affecting temperatures. Which direction, in terms of net heating or cooling, is still up in the air.’

Equally up in the air, albeit at a far greater distance, are noctilucent clouds (NLCs), the changing patterns of which have become apparent over the past two decades. First observed and named in the 1880s, NLCs were once the rarest clouds of all, but not only are they now appearing far more often, they also shine brighter than they did before, and are observable from increasingly lower latitudes. According to one hypothesis, NLCs are being formed from plumes of space shuttle exhaust jettisoned into the earth’s upper atmosphere, where neither water vapour nor dust nuclei are common natural occurrences, and therefore these clouds’ increased appearance (an increase of 8 percent per decade) is due to a proportionate increase in space shuttle traffic. Other research, however, points to the fact that extreme cold is needed to form icy clouds in environments as dry as the mesosphere, 50 to 80 kilometres above the earth’s surface, where temperatures as low as -130 degrees C are normal.

MartinJC2
Image taken form NASA / Noctilucent clouds

Strange as it may seem, the increased concentrations of atmospheric greenhouse gases that have contributed to raising temperatures on earth are also serving to create colder conditions in the earth’s outer atmosphere. This is because greenhouse gases trap much of the longwave surface radiation that has started its return journey back out into space. With less thermal energy able to escape from the lower atmosphere, the upper atmosphere is thereby growing correspondingly chillier. So could the observed increase in noctilucent cloud formation be due to mesospheric cooling, the lesser-known counterpart to global surface warming; and might their increased brightness be due to larger ice crystals being formed from a high-altitude influx of water vapour from the warming layers below? After all, NLCs have only been in evidence since the 1880s, the heyday of the Industrial Revolution, so it is possible that they will turn out to be yet another anthropogenic phenomenon — if so, the visible impact of human activity will have extended much further into our fragile atmosphere than we could ever have previously suspected. Whatever the secrets of these mysterious clouds, it is hoped that the AIM (Aeronomy of Ice in the Mesosphere) satellite, which was launched by NASA in April 2007 on a mission to study NLCs at close range, will be able to provide some answers to these questions.

Viewed from ground level, clouds are short-lived localized phenomena, undergoing rapid alterations as they pass overhead; when viewed from space, however, their individual movements are subsumed into large-scale formations that range slowly across the earth’s surface, connecting vast tracts of land and sea through enormous geophysical processes. Seen from space, what from earth is merely an indistinct bank of stratocumulus cloud, becomes part of a visible planetary order. It was this dual perspective that led Martin John Callanan to produce a terrestrial cloud globe, entitled A Planetary Order, the many technical challenges of which were worked through and overcome during his residency at the UCL Environment Institute.

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MartinJC4
Image by Martin John Callanan / A Planetary Order (Terrestrial Cloud Globe), 2009

‘Unlike Richard, who’s got a huge fascination with clouds, I’m more interested in systems — systems that define how we live our lives’ (MJC). Showing the earth’s cloud cover from one second in time, the shimmering white cloud globe freeze-frames the entire operation of the global atmospheric regime, and highlights how fragile the environmental (and informational) systems are that operate across the world. For the globe is created from raw information, being a physical visualization of real-time scientific data. One second’s worth of readings from all six cloud-monitoring satellites that are currently overseen by NASA and the European Space Agency was transformed into a virtual 3-D computer model, which was ‘3-D drawn’, or rather, laser melted, at the Digital Manufacturing Centre at the UCL Bartlett Faculty of the Built Environment. It was the largest object ever created by the Digital Manufacturing Centre, and it took two full days to build, the delicate outlines and profiles of the clouds emerging slowly as the laser carved gently across the compacted nylon powder surface of the sphere.

Unlike most of NASA’s own data visualizations, the globe features no added colour, only the sculpted whiteness of the raw material that throws a maze of faint shadows across the structure. From out of these shadows, in the right angles of light, emerge the global cloud patterns taken on 2 February 2009 at 0600 UTC precisely, and, under them, the implied outlines of the continents below, seen as though glimpsed through mist, or rather, through the mystifying quantity of atmospheric data that is currently being collected from the silent fleet of satellites in orbit some 36,000 kilometres out in space — an increasingly hertzian environment, where an electronic Babel of satellites, radio signals, text messages and security frequencies vibrate with an invisible stream of man-made weather. Though far from earth’s surface, we have nevertheless made it back to something resembling Borges’s 1:1 scale Map of the Empire, for, by taking a single second’s worth of transmitted information, our entire world has been made anew, pristine, white, and wreathed in the haze of an artificial atmosphere, held aloft like the fossilized egg of a long-extinct species that is about to be brought back to life from a single rescued strand of DNA.

This Guest post by Martin John Callanan forms part of the discussion in the urbanTick series on Ecological Urbanism.
It is an extract from the book Data Soliloquies, commissioned by UCL Environment Institute

Martin John Callanan is an artist whose work spans numerous media and engages both emerging and commonplace technology. His work includes translating active communication data into music; freezing in time the earth’s water system; writing thousands of letters; capturing newspapers from around the world as they are published; taming wind onto the Internet and broadcasting his precise physical location live for over two years. Martin is currently Teaching Fellow in Fine Art Media at the Slade School of Fine Art in London.

Richard Hamblyn is an environmental writer and historian; his books include Terra: Tales of the Earth, a study of natural disasters; The Invention of Clouds, which won the 2002 Los Angeles Times Book Prize; The Cloud Book and Extraordinary Clouds (both in association with the Met Office). He is currently editing The Picador Book of Science, and researching a book about man-made landscapes.

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The new Monu Magazine comes with a beautiful quote describing the characteristics of the city as a particular locally sourced parameter that lives and breathes with the citizens.
“Most of our cities are shaped by a particular set of values that does not necessarily lead to high quality urban spaces, but instead to scary, ethically unacceptable and distorted forms.” (MONU issue #12, )
This is something we all experience on a daily basis and therefore are very familiar with. However it doesn’t stop there. We also contribute to our surrounding, we are part of it. At least since ‘The Social Logic of Space’ by Hillier and Hanson we also have an attempt to describe and characterize this phenomenon. It it is not the only attempt, but one that claims to be fundamental and ‘scientific’ i.e. mathematical. But still, it is based on the static concept of the space as a given entity. This doesn’t fit together with Open Source, Free Content or User Participation. To some extend with the emerging filed of spatial dynamics research based on the new location awareness technologies is to look into this very same field. Since it focuses on the activity of the citizens directly they finally play the important role in the description of the urban environment. It really comes back to ‘You are the City‘.

You can brows the magazine on YouTube, for convenience I have simply embedded the clip below, so go a head a flip through the pages.

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Physicist Albert-László Barabási, well known for his work on network theory, has tuned his attention in a recent paper to the human movement. In the latest issue of Science 19 February 2010
Vol 327, Issue 5968, his paper ‘Limits of Predictability in Human Mobility‘ reports the research work undertaken with 50’000 anonymized mobile phone user data.
Barabási has don a lot of work on networks as early as 1999 were he coined the term Scale Free Networks, describing a type of networks with major hubs, such as for example the world wide web. In his barabasilab at Northeastern University, Centre for Complex Network Research a number of network related project are researched.


Image taken from The University of Chicago / Diagram of a scale-free network that contains components with a highly diverse level of connectivity. Some components form highly interconnected hubs, while other components have few connections, and there are many levels of interconnectivity in between.

However in this recent work the focus is on the predictability of human movement. The authors say: “By measuring the entropy of each individual’s trajectory, we find a 93% potential predictability in user mobility across the whole base. Despite the significant differences in the travel patterns, we find a remarkable lack of variability.” The work was intended to close a gap in the approaches to modeling human behavior. Despite personally we rarely perceive our actions as random, the existing models are largely based on the factors of random movement. The paper demonstrated that even though the activities, distances and motivations for individual movement might be very divers and different the predictability of an individuals location is not. They all have very similar predictability values, ranging between 80 % and 92 %. AOL News titles their article on the work “Study Makes It Official: People Are So Predictable” implying that this must be soooo boring.


Image taken from AOL News / These diagrams represent the movements of two mobile phone users. The one on the left shows that the person moved between 22 different cell towers during a three-month period, and placed 52 percent of his calls from one area; the other subject hit 76 spots, and was much less rooted.

This might be very surprising news for most people. The fact that there is so much less changing and spontaneity might seem unrealistic, but a similar impression was given by the data collected with the UrbanDiary project last year. Even though this was a really small sample, the fact that individuals travel most of the time along their known routes, between only a few hot spots clearly emerged. This can also be seen visualised in the What Shape are You? renders. Also Hagerstand’s work pointed in to this direction arguing that the ‘Constraints’ are too strong for too many out of rhythm activities.
Barabási already undertook similar work with mobile phone data in 2008, which war published as an article in nature, by Gonzalez MC, Hidalgo CA, Barabasi A-L. with the title ‘Understanding individual human mobility patterns’. In this article they analysed data of 100’000 mobile phones. Was the media coverage back then (two years) very much concerned about privacy issues related to the data source, for example NYTimes is this less of an issue. Nevertheless it is obvious that the researchers try to play it save by mentioning about ten times in the article that they work with anonymized data.
The argument is largely the same in both articles and the finding too. In both papers the researchers show their surprise about the outcome, that the movement can be predicted. However to my surprise they stick to their study and do not draw any strong links to routines and rhythms of personal habits. You can listen to a podcast where Barabási talks about this research.
In the more recent paper they conclude “At a more fundamental level, they also indicate that, despite our deep-rooted desire for change and spontaneity, our daily mobility is, in fact, characterized by a deep-rooted regularity.”
I believe that the former, spontaneity, is very much a cultural phenomenon similar to the urge to stay young. The later, regularity, is the provider of identity and orientation resulting in stability and safety and therefor fundamental to human everyday life. Interesting should be Barabási’s upcomming new book Burst on “The Hidden Patterns Behind Everything We Do”.

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Tracking movement of individuals in the urban environment is one of the elements of the UrbanDiary project run by urbanTick. However we re here interested in any sort of tracking and this ranges from tracking animals to climate change and planets. For the UD project GPS technology is used and this works fine. However it would not work indoors and as one of the first participants quickly pointed out, we actually spend quite a lot of time indoors. Take a normal working day and your likely to spend a bout three hours commuting an the rest your indoors, office, shop, restaurant or church.
At the same time however, you’re not likely to move very far inside. From the desk to the coffee machine or the printer and maybe from one floor to another. Nevertheless it can be quite a lot of movement over the day, depending on the job and the task.
So indoor tracking might be of some interest. And it actually exists as a commercial branch. It is of special interest to commercial and retail operators, like shopping malls for example. We featured a product HERE, that was based on mobile phone signals.
However the company timeDomain offers a range of products offering a similar tracking service. TD provides tag based tracking products, but also tracking without tags. This tag-less product is demonstrated in a video HERE and it seems to work stunningly well, even with a number of subjects in the same perimeter. Tag based products can be used in a number of settings and are mainly promoted for retail. Here trolleys or even individual goods, such as cloths can be tagged. Flash demo HERE, and a video demo HERE.

timeDomainPlus.HJKymEEQPMfZ.jpg
Image by timeDomain – illustrating usage of the Plus

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