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  • - Oh, I think I'm live. - [Jenny] It's--

  • - Yes. - I'm live,

  • talking into a microphone, that is not a microphone

  • that actually does anything for you.

  • Hello, I'm just looking here at the Slack Channel.

  • Please, if you are watching this right now,

  • and you can hear me, and you can see me, oh.

  • - [Echo Voiceover] Are watching this.

  • - Then just give me some, everything's fine,

  • just put some like thumbs up emojis or whatever.

  • It's especially-- - [Jenny] We're live.

  • I got a feedback.

  • - Okay.

  • - [Jenny] Hi, hi.

  • - So I'm in my office here at, where am I?

  • I'm at the Tisch School of the Arts,

  • which is part of New York University,

  • which is in New York City.

  • And this is the ITP and the IMA program.

  • So ITP is a two years masters program.

  • It's been around for almost 40 years.

  • This October will be the 40th anniversary,

  • or the 40th annual year, whatever.

  • It's been 40 years.

  • But the IMA program has been around for oh,

  • carry the one, three months, two months, I don't know.

  • Very little time.

  • So we're going to see some

  • grad student interesting,

  • fun, creative, wacky, meaningful, interactive projects.

  • And we will also possibly see some undergraduate ones.

  • So I think, from what I can tell,

  • I'm getting only thumbs up, things are working.

  • Let's just look at this

  • to make sure everything is recording.

  • So this is back, so just so you know,

  • this thing that I'm holding here is backup audio.

  • The audio that's live streaming, is coming from a mic

  • that is mounted on top of the camera,

  • which Jenny is holding.

  • You can't.

  • - [Jenny] Hi. - I think you can

  • flip the camera, scare 'em, and just say hi.

  • - [Jenny] No.

  • - And so hopefully that's going to be a better audio experience

  • for the live stream.

  • But after the live stream finishes,

  • we will also make a edited version

  • of a highlight of a bunch of projects,

  • and have this backup audio to work with as well.

  • Okay, so let's move on.

  • First, I want to show off this beautiful poster.

  • - [Jenny] Wow.

  • - This is by Cody Train.

  • This fortunately got a longer cable.

  • Cody Train viewer, a sign of the tiger.

  • This is a times table visualization,

  • which I think is based on a mathologer,

  • mathalogger, mathaloger.

  • How do you say that video?

  • YouTube video, which is one of my favorite YouTube channels.

  • Great work Simon.

  • Okay let's go, let's go into the foyer.

  • (laughing)

  • Here, you can walk out and start going towards the middle.

  • I don't have to be in the shot constantly.

  • - [Jenny] Okay.

  • I'm just walking right through.

  • - And let's go find some projects to look at with, right?

  • - [Jenny] Yes. - Okay.

  • Look, we can start right here.

  • Can we start with, oh boy.

  • (laughing)

  • It's okay, everything's fine.

  • - [Jenny] Oh, should I photograph you

  • while you-- - Yeah, microphone disaster.

  • It's was going so well I had so many different microphones.

  • Hold on.

  • Let's, let me fix this here.

  • This goes in.

  • - [Eva] I would be helpful, 'cause I don't know

  • how it works. - All right.

  • Here we go.

  • All right, so let me just check what's going on here.

  • So this is recording.

  • And this is recording. - [Jenny] Someone says,

  • don't destroy the room, dude.

  • - Then this here.

  • So maybe what I'll do, is I'm actually,

  • maybe I'll just put this in my pocket.

  • So the ambient recording is not going to be.

  • But we have plenty of good ambient recording from that one.

  • Okay, let's, this is the ambient.

  • Everything is ambient, okay.

  • (chattering in background)

  • And let's just, oh wait, I couldn't.

  • Let's turn it around so we can see if there's red lights.

  • This is the, this is the best way to start the live stream.

  • Yeah right, before, oh that jeans are very thick.

  • Let's see if there's red light, a red light there,

  • so the battery's still working.

  • Things are falling.

  • It's just like a new piece of jewelry that I'm going to wear.

  • All right, let's try this again.

  • Okay, so

  • - Okay.

  • - tell us your, I'm going to come stand over here.

  • - Okay. - Tell us your name.

  • - Hi. - Tell us a little bit

  • about the project.

  • - Okay. - Usually,

  • this is the first one we're doing,

  • so we're trying to get this figured out.

  • The way that we're going to work this, everybody watching is,

  • first we're going to interview.

  • So you get like the two or three sentence summary.

  • - Got it.

  • - And then we will go and actually shoot some video

  • of the footage.

  • We'll do this separately,

  • because it's nice to have a separate piece,

  • in case people aren't together later.

  • - Got it. - Okay.

  • - Okay, hello, I'm Eva.

  • I'm a first year at ITB,

  • and I created a project about dyslexia.

  • So I wanted to create a project that would bring up

  • the frustrations that dyslexics face

  • while learning a language.

  • So I created an alphabet, and it had,

  • I'm having people read and write

  • in this language that I made.

  • - Awesome, should I try it?

  • - You can. - Or is it best

  • if you demonstrate it?

  • Like how? - You can try it.

  • So you put on the headphones.

  • Unfortunately, maybe you can unplug it if you're going to.

  • - If you want to unplug it, just that I always go on here

  • under the audio. - Yeah,

  • On that tray.

  • - If that's a big thing to do then,

  • you don't have to. - Let's see though.

  • So when you scan a coin,

  • I don't know how to do the audio right now.

  • Yeah, you might have to clip the headphones in.

  • - Oops.

  • - So when you scan a coin, over the headphones

  • it'll say the letter that you're scanning.

  • And so you can kind of decode the language.

  • And then when you're ready,

  • you can scan in the right section,

  • and you can write any word that you want.

  • And then these are words that previous people have written.

  • - So I'm just doing this randomly.

  • - Yes.

  • - But the idea is that I would learn

  • this. - Yeah, yeah.

  • - And I would actually be able to.

  • - And then you can submit.

  • - Submit.

  • - And so then your word is there,

  • and then previous people's words are there.

  • So the idea is that it's kind of frustrating,

  • and you have to really learn to match the sounds

  • learning with the symbols.

  • - Yeah.

  • - And that kind of replicates a dyslexic's experience

  • when you're ready.

  • - I'm just going to, I'm going to do this.

  • I have no idea if this

  • is going to do anything. - Okay.

  • - But I'm going to put this microphone in here.

  • It's probably a terrible idea.

  • (chattering in background)

  • Awesome, thank you.

  • Great job. - Thank you.

  • - Okay.

  • Let's see.

  • Let's go into this room.

  • We might as well kind of.

  • We could come back.

  • - [Jenny] Yeah.

  • There's just letting.

  • You guys are in now.

  • (chattering in background)

  • - Can we try this?

  • - Yes.

  • - Oh, you're documenting right now.

  • - You can, yeah, after I can.

  • - All right.

  • All right. - Sure, go ahead,

  • - Can you, no, come over here will you?

  • - This is just a set.

  • - So. - Thanks (mumbling)

  • - Then it's dark in here,

  • but maybe can you first say your name?

  • And this is live TV right now.

  • - Yeah, all right.

  • Yeah, I'm good, okay, cool. - So,

  • tell us your name.

  • - Hi. - And tell us

  • just a few sentences about your project.

  • And we'll try it, and get the footage of it.

  • - All right, yeah.

  • Hi, I'm Louise, and this is Sid.

  • And we built this laser harp. (background chatter)

  • Yeah, it's two concentric circles.

  • And in time, it's going to allow you to play satellites data.

  • So like the positions and sonification.

  • Right now, it's just playing the--

  • - Oh, wait, wait, wait.

  • I don't, I'm, tell me, explain to me the thing

  • about playing satellite data. - Yeah.

  • - I didn't realize this yesterday, when (mumbling).

  • - No, okay, so. - How does that work?

  • - That's why it has that shape.

  • So it's like inspiration from the astrol,

  • astrology instruments in the 16th century.

  • And it's for a new project called horn canopy.

  • It's a music project that my friend is doing.

  • But anyways, and so this is going to be an instrument

  • he's going to be playing with live streaming satellite data.

  • So there's a lot of space debris.

  • So like the debris is going to probably determine

  • the amount of noise then the sound.

  • - Wow. - So we're going to take

  • live data into it,

  • and then play it. - Cool.

  • All right, do you want to demonstrate it for us?

  • - Yes, so basically these are strings apparently.

  • I should just turn on.

  • (chattering in background)

  • Alright, it should be on now.

  • Yep.

  • So here we've got the strings.

  • (eerie music)

  • (chattering in background)

  • And these are my different instruments.

  • So when ever I like,

  • pick one of these, I'll change, I'll change the tune then.

  • (melodic music)

  • Yeah, and then you know, it also does reverb.

  • - Oh.

  • (laughing)

  • - That's great.

  • (chattering in background) - It's really beautiful.

  • - Thank you.

  • - Sid, do you have anything you want to add?

  • - [Sid] Well, no.

  • (laughing)

  • - Congratulations,

  • great job. - Thank you so much

  • for visiting.

  • Bye.

  • - And that's for everybody. - Yeah.

  • - For real, for real? - Yes.

  • Yeah. - Okay.

  • - So. - Now that I'm not

  • eating a sandwich.

  • - All right, so just say your name,

  • and two couple sentences about what is it you make.

  • - Yeah, my name is Lydia.

  • This is sort of an abstract data visualization.

  • Each cube represents a different neighborhood in Chicago.

  • And it's displaying a few different data sets.

  • And with the sliders,

  • you can play around and kind of emphasize different data,

  • and see how it

  • changes the outcome of what you're lookin' at.

  • - Awesome, can you demonstrate it for us?

  • - Yeah. - We'll get some

  • closer up shots of it.

  • - Yeah, so right now I'm changing the blue squares.

  • These are, this is showing the number of schools

  • in each neighborhood.

  • So I'm really emphasizing that.

  • And I'm going to take away grocery stores, and then I'll add

  • vacant houses and the unemployment rate.

  • So you can see what that looks like in each neighborhood.

  • And then I can also redraw it

  • to have a different configuration,

  • and see how that sort of changes the picture.

  • - [Male] The sliders more with your fingers, so.

  • Yeah. - And do,

  • I, this scale seems like

  • a really interesting question around this.

  • So obviously you're limited by what you can do with

  • - Yeah. - the show here.

  • But do you have sort of imagine if you could,

  • there were no limitations

  • like how you would want to build this?

  • - Well this is, so there's 77 neighborhoods in Chicago,

  • and this is just showing five of them.

  • So it'd be really cool

  • to have 77 cubes. - Right.

  • - And then I'd also like to, this is kind of,

  • this is motivated by in data analysis like,

  • and machine learning, like assigning different weights

  • to different data. - Right.

  • - Or like different variables,

  • and how that really changes the,

  • your outcome of your analysis.

  • And so I'd like to have kind of like

  • another sort of variable that you can change.

  • So like if you configure the sliders this way, then it,

  • the background color, or some other factor changes

  • so you can kind of see,

  • see more of the outcome - Right.

  • - of what you've done here.

  • - And has anybody from Chicago come to the show?

  • - Yeah, a few people. - Yeah.

  • - Yeah, they're tryin' to guess

  • the neighborhoods. - Neighborhoods.

  • - [Both] Yeah.

  • - Did they, was anybody able to get it?

  • - No, not really. - Not really.

  • - I mean, yeah,

  • it's really hard to tell, - Yeah.

  • - yeah.

  • - Cool, awesome. - Yeah.

  • - Great job. - Thank you.

  • - Sure. - Thanks.

  • - Hey, live stream watchers, - Okay.

  • - Dan is not holding the Zoom recorder,

  • because he's using a lavalier microphone,

  • and an external microphone.

  • - Yeah.

  • - [Jenny] So please stop writing

  • that he should hold

  • the Zoom recorder. - Yes, look, look,

  • see, look.

  • I've got four different microphones going right now, four.

  • It's the, that's the world record

  • for the number of microphones I've ever used at once.

  • Okay, just kidding.

  • All right, are you ready to demonstrate this now?

  • - Ah definitely.

  • - Okay, so if you could just give us, say your name.

  • Is this a collaboration?

  • - Yes. - It is.

  • - Oh, so you both of you come over here.

  • - Yeah.

  • - And tell us your names, and where you're from,

  • and a few sentences about what you made.

  • And then we'll get some footage of you

  • playing around with it,

  • or me, or whatever. - Sure.

  • - I guess I'll do, okay, go ahead.

  • - Oh, my name is Dana.

  • I'm from, originally from Tel Aviv, Israel.

  • And this is my first year here, and.

  • - I'm Matt Ross.

  • I'm from Long Island, and I live here in New York.

  • And we're first years here at ITP.

  • - And we decided to do a collaboration

  • in a physical community class.

  • And this is our reflected landscape.

  • - Yes.

  • - It's sort of just-- - and then come.

  • - Reflected landscapes is a sound and light

  • instrument collaboration sequencer sampler insert musical.

  • The term here, the idea is, we wanted to give people

  • the ability to control the energy that kind of comes

  • when a sound gets delayed or echoed.

  • And so each one of these sliders

  • controls a distinct color and sound.

  • And so, or as, please. - Cool.

  • - I'll turn on the bully.

  • So turn on-- - Yeah, turn on the please.

  • So as you can see,

  • as I move a slider to the middle of the bank,

  • a light and a color starts emanating from here.

  • So you have the epicenter of the sound,

  • and it gets emitted from where it started.

  • And you have the ability to kind of move it around.

  • - To like little arrows.

  • - Yes. - And they are,

  • exactly arrows. - They are.

  • They're little arrows.

  • - Didn't notice that yesterday.

  • - No, our entire purpose was

  • sometimes to create collisions between two arrows.

  • So now there is an arrow and a collision.

  • And now there is a third one.

  • - Ah, a little separate circle.

  • - Exactly.

  • And you can always break those collisions

  • and go back to create new ones, if you want to.

  • Each time that a collision occur, the sound is being changed

  • to maybe a greater sound or a better feedback.

  • And yeah.

  • We spent a lot of time thinking about the colors.

  • - Hotel. - How to get out

  • from the LED

  • - Right.

  • - regular RGB mode.

  • So it was also a journey to understand

  • like how to create this compelling peach

  • like the color, and but yeah.

  • - Yeah, I think for this piece,

  • one of the biggest things, a lot of times

  • visuals are kind of the representation of sound.

  • But we want to kind of like have this idea where

  • here's a visual communication.

  • It's a visual metaphor of this

  • thing that's used in music so much, echo delay.

  • And what if we were able to like kind of

  • create this metaphor, that made it

  • kind of really obvious to people how this thing,

  • or how this mode of recompution works.

  • - It's awesome. - So,

  • it's pretty convenient.

  • It's pretty simple.

  • Please, please enjoy it.

  • - Great job.

  • (slow instrumental music)

  • Great job you guys.

  • - [Both] Thank you.

  • - Okay, oh hello.

  • - Hello to you too.

  • - Will you tell us your name?

  • And where you're from, and a few sentences

  • about your project?

  • And then we'll get some footage of it afterwards.

  • - Okay, my name is Marcela.

  • I'm from Brazil.

  • And well my project is called Imersa.

  • It's culture that builds itself

  • when you're there with it for it to happen.

  • Basically I was thinking about my relationship

  • with like coming here, and everything that happened.

  • Having to connect with a lot of people,

  • and especially after what's happening in my country,

  • how hard it was for me to try to talk to people about it,

  • and try to create some empathy or something.

  • So yeah, that's basically it.

  • - If I may?

  • - So yeah, you just look into, you could.

  • - This? - Oh, you don't need this.

  • But yeah, you just look from here.

  • Because. - Oh wow.

  • - You have to be here.

  • You have to be

  • in here. - I'm meant to be

  • in this. - Yeah.

  • And then, yeah.

  • (chattering in background)

  • - Can you see

  • inside that? - Am I going to

  • be able to do this? - You should, yeah.

  • Oh, I moved from it.

  • I made that happen.

  • I'll come back.

  • (chattering in background)

  • (soft melodic music)

  • It's really beautiful.

  • Did you make that specific choice to have it,

  • like move in these like very sharp steps?

  • Or because it seems very different than the quality

  • of having some movement, sort of smoothly off it somehow.

  • That's (mumbling). - Yeah,

  • actually that was kind of an accident.

  • - Yeah. - Because,

  • I didn't have the motors that I wanted to have.

  • And that was the way that I figured out how to do it.

  • But I could make it less

  • in steps. - Yeah.

  • - But I had good feedback of people saying,

  • even like that they were, a lot of people were just like,

  • - Yes. - oh my god.

  • And what I'm talking about - Right.

  • - is not something that is only

  • beautiful and amazing. - Yeah, right.

  • - So-- - It's less

  • comfortable that way.

  • - Yeah.

  • - So it kind of works, even though the quality of the,

  • you know the sort of, the sparkly nature of it,

  • is very sort of like soothing and meditative,

  • and the sounds, but yet it's kind of harsh as it moves.

  • I think that does help it.

  • Awesome.

  • So great job.

  • Okay.

  • - Hello.

  • - Hello.

  • All right, so can you first, maybe don't turn it on yet.

  • - Sure.

  • - Maybe we should make that be a surprise.

  • If you could just tell me your name,

  • and a few sentences about your project,

  • and where you're from.

  • - Okay. - The people like to know.

  • - My name is Assel Dmitriyeva, I'm from Kazakhstan.

  • And this project is called the field be ready.

  • Data visualization reimagined.

  • And I wanted to get away from the 2-D usual screens,

  • and to have the spacial data

  • being visualized spatially in 3-D space.

  • So that's what I came up with.

  • - Okay, let's make sure we get a shot of it

  • before you turn it on.

  • And then, you can go for it.

  • I wonder what this will pick up

  • at the refresh rate - Tah dah.

  • - on the camera.

  • So can you describe just what,

  • how this is connected to the data?

  • Or it's, maybe it's not yet,

  • that what you're imagining it for?

  • How you imagine how it connects to the data?

  • - Yeah, so right now for the demonstration

  • that this can be shown, in order to attract more people,

  • I have decided to show the full spectrum of the colors

  • it represents of that globe,

  • so that people can see what is possible to be.

  • - Yeah.

  • - And children get attracted as well,

  • when they see different colors being changing.

  • In the future, I want there to be data wirelessly,

  • so that again, it'll create different images

  • that people have already taken, and converted it to data,

  • originally from itself.

  • - Great job, it's wonderful.

  • - Thank you.

  • - Okay, how you doin' there Jen, you okay?

  • - [Jenny] Good, good, good. - But you need to

  • take a break, we can take a break.

  • - [Jenny] Everyone's still mad

  • about the Zoom recorder.

  • - Oh wow. - [Jenny] Guys,

  • pull it with the Zoom recorder.

  • - I hope there's some moderators in the chat, in the.

  • Actually, let me double check

  • to make sure this is still going.

  • 'Cause I put it in my pocket, and.

  • Okay, I see this is recording.

  • I'm getting laugh mic.

  • I'm getting laugh mic.

  • Okay, so I think we're good.

  • Go ahead.

  • - [Jenny] Fixed.

  • - Okay, ah I didn't see Bora?.

  • He's not, Bora is now on a different project.

  • All right, we'll go this way I guess.

  • All right.

  • Let's go over here, 'cause I don't know.

  • - [Both] Hey.

  • - I really love this project.

  • - Thank you.

  • - This is both of you, yes?

  • - [Male] Yes.

  • - Yeah, so did, I don't want to interrupt.

  • Let's come look at this, and we'll come right back.

  • 'Cause I don't,

  • actually didn't get to see this one yesterday.

  • Oh my goodness, can you get, is this your project?

  • - Yes.

  • - And who are all, can you tell us your name?

  • And a few sentences about it.

  • - Okay, my name is Jaekook.

  • And this a project called the focus helper.

  • It's based on the idea that how to reduce

  • a misunderstanding in conversation.

  • So I want to make people a really private space,

  • so it just focused on their opponents.

  • So inside of this product,

  • it has a magnifying lens and mics.

  • And if you're close to your person, it focus on their face,

  • and that he may find their faces.

  • And you can hear more clearly the voice of

  • the partner or opponent.

  • - Yes, amazing.

  • - Thank you. - I don't know

  • if you want to try to like.

  • I don't want to interrupt what they're doing in there.

  • - Nancy's in there right now.

  • - Oh, Nancy's in there.

  • Oh, we can interrupt Nancy.

  • (chattering in background)

  • Can you describe what's going on in there?

  • Nancy, can you hear me?

  • - Yeah, I can.

  • - Oh, can you describe what's going on in there?

  • - It's nuts, even I can, I'm having

  • - Are you-- - a private conversation.

  • - Oh sorry, I've interrupted.

  • I've defeated the whole purpose of this project.

  • - Yeah, so this is kind of like,

  • you know the corner of silence?

  • - Uh-huh, yeah.

  • - This is kind of like the corner of silence.

  • - All right, but are you, do see anything?

  • - Yeah, you should try it.

  • - Okay, I definitely will.

  • - Can you try it and do this?

  • - I suppose.

  • - All right, it's, Nancy you should stay.

  • - I should stay? - Yeah.

  • - You should stay.

  • We're going to put us back together.

  • - Okay, so then it was

  • a partition put in there to help yourself recognize.

  • - I don't really-- - No--

  • You'd ruin my purpose of this project, sincerely.

  • - Oh no. - I can use this,

  • like Simon should.

  • - Okay.

  • - Well no wonder you couldn't hear me,

  • you're wearing headphones.

  • - That's right.

  • - All right.

  • - It's tricky getting in.

  • Don't, don't. - Yeah.

  • - You're going to be tempted to, no, no, no.

  • First clear your head.

  • - Careful, you got to clear your head.

  • - Uh.

  • - You in yet?

  • - First head, and then the knee.

  • (laughing)

  • - There you go.

  • - Oh, okay.

  • Okay, I'm now in the focus chamber.

  • - [Jenny] Oh man.

  • - And I can hear Nancy.

  • (muffled talking)

  • And there's a magnifying lens.

  • Your face is - Yeah.

  • - very large.

  • - I can hear what's said. - Okay.

  • - And that's not happening. - To make them loose.

  • (muffled talking) - When your connected,

  • unfortunately people can't hear you.

  • - I'm going to put my,

  • I'm going to put this microphone up by the headphones.

  • But you should talk in this (muffled talking).

  • I'm live.

  • What happens at, so now the magnifying lens is movable.

  • (chattering in background)

  • - [Jenny] Can you see from above?

  • - What happens if I press this button?

  • (chattering in background)

  • (muffled talking inside machine)

  • - This is probably not great for the live stream of viewers.

  • (muffled talking inside machine)

  • - You should just go like.

  • You can get down like I did.

  • If you want to get out slowly.

  • - Yes.

  • (muffled talking)

  • - [Jenny] You did.

  • That's entertainment.

  • - Wahoo. - How was the experience?

  • - That was very intense.

  • What is the-- - I forgot,

  • I forgot it was live--

  • - Yeah, no it's okay.

  • (laughing)

  • We're good.

  • I want to know what the button does.

  • But I'm going to let Nancy, could get out of there.

  • And we're going to come over here.

  • Oh, what happened to your partner?

  • - SJ!

  • - Come on over.

  • Okay, so tell us your name,

  • and a few sentences about your project.

  • - All right, so my name is SJ.

  • This project is called islands of sound.

  • So it's an interface where you can tap on these objects

  • to mix different ambient sound.

  • So the way to personal experience it

  • is to wear the headphones.

  • And then once you tap on this object,

  • it'll put in a different sound,

  • and you can tap them again to turn them off.

  • You can adjust the volume by putting it on to this bar.

  • Turn down the volume by putting it on this bar.

  • And just explore how different

  • combination of sound can help.

  • - Where did you get the idea for this project?

  • - Learning to, yeah,

  • my name's Ellie, and our idea basically is to

  • like play with the sounds of like the nature,

  • and of artificial materials.

  • So we chose four sounds

  • reflecting the properties of those objects.

  • Two of them are natural materials,

  • and the other two are artificial materials.

  • And we try to build a connection between human,

  • like the physical environment that we are living in,

  • and the nature of the world.

  • So that's the idea.

  • Yeah. - I love the

  • choices you made for these different.

  • I don't, to call them buttons feels wrong.

  • And the way they're buttons, 'cause you're touching them.

  • But it's like, it's a really nice progression, sort of

  • they're each so distinct in their own way.

  • It's beautiful.

  • - Thank you.

  • - And you did an excellent job masking these trajectories.

  • Talked about this yesterday.

  • - Yeah.

  • - You can barely, it just feels very organic actually.

  • Awesome. - Thank you.

  • - Okay, great job.

  • Okay, oh, is this the fingerprints?

  • - Yeah, the fingerprints.

  • - All right, let's try the fingerprint.

  • - Great, do you want to try the fingerprint?

  • - Okay, sure.

  • Okay, so first

  • tell us your name. - Oh hi.

  • - Where you're from,

  • and a couple sentences about your project.

  • - Okay, my name's Shiyu.

  • I'm Chinese from China.

  • So my project's about like

  • the fingerprint visualization and sonification.

  • So basically, a user, when they put the fingerprint on it,

  • the finger on this devices.

  • And then this fingerprint would be show up by visualize

  • like a star in galaxy of a screen.

  • And you'll be able to move it and check your fingerprint,

  • the sound will coming out.

  • So it's basically like this.

  • - Cool, okay, so can we try it?

  • - Yeah, sure, definitely go ahead.

  • Yeah, yeah. - Oh, oh, I don't.

  • - Yes. - I do it here.

  • - It's a touchscreen, so. - Oh, right.

  • - Yeah, you can-- - Okay.

  • - So first of all, - Okay.

  • - you need to put your

  • finger right here. - Oh, okay.

  • But I don't press start first?

  • - Just make fingerprint first.

  • - Okay. - Then.

  • - It's reading my fingerprint. - Okay.

  • Right, and then you can press start.

  • You can press start.

  • Oh, just. - Oh, okay,

  • I'm going to wear the headphones. - Yeah, I have one.

  • - So many projects have headphones,

  • which makes it very hard for people watching to experience.

  • But I will tell you what I'm hearing.

  • Okay. - Start.

  • Just put a star, and then it'll start playing.

  • There'll be a sound.

  • - I'm hearing some beautiful like wind chime like sounds.

  • (chattering in background)

  • It's the end.

  • (chattering in background)

  • Okay, I'm going to press start.

  • - And this is your, and you're able to just move it.

  • Yes, like, the only the fingerprint area, yes.

  • The instrument is karimba.

  • It's an African instrument that usually played by,

  • yeah, it usually played by thumb, African instrument.

  • So that's why I use a karimba to be like make sounds.

  • - Can I press next?

  • - Yes.

  • (chattering in background)

  • There will be like a narrating things.

  • (chattering in background)

  • - Yes, I definitely want to join the cosmos.

  • - And then your fingerprint will be like a star

  • (background noise drowns out speaker).

  • - And so that, this is all the other people's fingerprints.

  • - Yes.

  • - That's wonderful.

  • - Thank you so much. - Beautiful work.

  • - Yes. - Great job.

  • - Thank you so much. - Congrats.

  • Okay, oh we ought to look at this fan thing.

  • (chattering in background)

  • Are you accepting visitors?

  • - Yeah.

  • - Can I ask you to introduce yourself,

  • and tell us about this beautiful fan?

  • Okay. - Hi.

  • Oh, I'm Joe Baker.

  • And this is my fan.

  • I was inspired by the Japanese folding fans.

  • So I decided just to make a really large one,

  • and make it express itself through visuals,

  • and communicate with, you know, in a world.

  • Business man is come from, so yeah, the business man,

  • a business fan comes from the business man that had a fan

  • that first inspired that idea.

  • - It's so beautiful and soothing.

  • I almost feel like, I mean I love how,

  • these graphics are wonderful, and it's so,

  • they're connected in a really interesting way.

  • But I almost feel like I just want to

  • be in a room with nothing else.

  • Get rid of the live stream show, get rid of the screens,

  • and just like,

  • - Lay out.

  • - Just meditate with the fan back and forth.

  • - Yeah, yeah,

  • that was the idea - Yeah.

  • - to have a very like calming motion

  • to it. - Yeah.

  • Did you, is this like, did you try different speeds,

  • and this one felt right, or?

  • - Well this one's the smoothest one I can get on its own.

  • Before, it was very jerky.

  • - Uh-huh, yeah. - And it was just like

  • kind of like.

  • - Yeah.

  • - So I wanted to make it more, as natural as possible,

  • - Right. - without me

  • - Right. - having to control

  • it myself. - Yeah.

  • - Yeah. - And smooth

  • is the definition.

  • (chattering in background)

  • - It's us and Maya.

  • - And Maya?

  • - Yes.

  • - Okay, all right.

  • All right, so say your name and where you're from,

  • then tell us a few things about the project.

  • - Hi, my name's Dillon, I'm from California.

  • - Hi, my name is Cara, I'm from Toronto.

  • - And our project is called Deep Dive.

  • It's a virtual escape room of sorts where you,

  • where the controls are hidden in buttons

  • underneath the mats, and you navigate around the mat

  • to find your way out.

  • - Yeah.

  • - Okay, so should I try it?

  • - You should try it.

  • - Do I need to wear safety goggles

  • - No. - to operate them?

  • - You do not have to wear them.

  • This is your controller.

  • - Oh, okay. - And we would ask you

  • to take off

  • your shoes before entering. - Oh, sure.

  • Oh my god, I'm already stepping on it.

  • - No, that's okay, that's okay.

  • It just, it helps if you're not wearing shoes.

  • - I've only, I haven't

  • broken one, a project. (mumbling)

  • I usually break at least three to four projects.

  • - All right, so this is your controller.

  • - Okay.

  • - Oh yep, there you go.

  • - Here, do you want to actually hold this?

  • - Sure.

  • - If you need to sing, then you can.

  • Just know that's it's also attached to me.

  • - Okay, okay, I will let you touch it.

  • - Yeah, I'm going to grab this side,

  • so I can move. - Okay.

  • - Look for a light.

  • Okay, I'm looking for a light.

  • Hopefully I'll be able to read 'em, we'll see.

  • Oh, okay.

  • - What?

  • - Oh, I don't know how, so I found the light though.

  • (chattering in background)

  • This is weird.

  • - Oh. - I guess I can hold it now.

  • - I can hold the mic, if that's affecting it,

  • because I feel really paranoid.

  • - You can tell it's just cliffs and, oh okay, hold on.

  • (laughing)

  • I will say, the sooner I have to stop,

  • I'm going to be the expert.

  • Oh, I guess not.

  • Did I, like this.

  • This is my controller somehow.

  • - You might want to explore a little more

  • on the Xs.

  • - Oh.

  • - It's that hint I'm going to give you.

  • Two Xs?

  • - All right, so if you keep your eyes up here,

  • it will show you how the Xs are an intricate part

  • related to the scene.

  • (chattering in background)

  • (mumbling)

  • - Okay, and maybe not.

  • All right.

  • Oh, so can I like, can you move into the left?

  • (mumbling) - Yep,

  • slip all of your weight on that X.

  • - Oh.

  • - There you go. - If it'll hold me.

  • (chattering in background)

  • I don't know why it looks that way?

  • - It might have been,

  • you might want to go back and look at it.

  • (laughing)

  • - Paranoid to really jump onto this.

  • - Oh yeah.

  • - Oh yeah, there's the light, yes.

  • (chattering in background)

  • - Red, press the light to turn on.

  • - So this is when you would use your controller.

  • - Oh, oh, right, there's a button there.

  • Thanks for the clue.

  • - You're welcome.

  • We've been giving them out this whole.

  • - I'm not the only one who didn't figure anything out.

  • - Totally not, definitely not, absolutely not.

  • - Maybe we can find an oxygen tank.

  • (chattering in background)

  • Did I miss it?

  • - You look for doubles.

  • - Oh, okay.

  • (chattering in background)

  • Is this my time, how much time I have left?

  • - Yes.

  • - Oh. - Exactly,

  • right in front of.

  • - How do you get out of this cave?

  • I don't think I'm going to make that.

  • Oh, I have more till I get more time.

  • - Yeah, yeah, yeah, it's usually two minutes, (inaudible).

  • (chattering in background)

  • Am I all the way at the edge?

  • - Whoa, there's a dolphin.

  • Grab on, yes.

  • - Yeah. - Okay,

  • so you can steer the dolphin with A.

  • It's actually to it, (background noise drowns out speaker).

  • You can steer the navigator on him.

  • (background noise drown out speaker)

  • - Am I going the right way?

  • - Yes, but keep your eyes

  • on the yellow T. - Oh.

  • (chattering in background)

  • - [Male] Oh no, no.

  • (chattering in background)

  • - I think I made it.

  • I think I made it.

  • (laughing)

  • - Almost, you're almost there.

  • (chattering in background)

  • - Do I have to turn to get in?

  • - [Both] No.

  • - You just keep going straight.

  • - Okay.

  • - You just have to keep your eye on the floor over there.

  • (chattering in background)

  • - It feels like I need to turn.

  • Where's the exit?

  • I just have to complete this, I'm sorry for everyone here.

  • Whoo. - It's there.

  • - It's there, you're so close.

  • (chattering in background)

  • - I'm really going outside here.

  • (mumbling)

  • - It's all right.

  • (chattering in background)

  • (upbeat dramatic music)

  • - That's awesome.

  • - Thank you so much.

  • - Who's the fastest?

  • - I'm sorry?

  • - Was anybody like really fast figured it all out?

  • - Kids.

  • - Kids, yeah. - Kids figure it out

  • fast. - Yeah, they're not,

  • they don't have as many hiccups.

  • It's like, oh my god, I'm going to mess this up, I'm terrible.

  • - They also really like to jump on those,

  • which is - Jump on those.

  • - which is actually

  • one of the best ways - Yeah.

  • - to get it to bounce. - Yeah.

  • - So, yeah. - Good job.

  • - Thank you so much.

  • - Okay, all right, oh I can put my shoes back on.

  • - [Jenny] Dan,

  • I'm glad you're wearing such nice socks.

  • - Yes oh yes, these are my quick draw socks.

  • StringandLoop.com, not a sponsor,

  • but I'm promoting them anyway.

  • (laughing)

  • Okay, oof, I'm exhausted already.

  • All right, let's come over here.

  • We can look at this project.

  • Can you guys come together and,

  • - Yeah.

  • - and tell us your names, plural.

  • - And. - And so is

  • that your project?

  • - I'm Arnab.

  • - Hi, I'm Atharva.

  • - Lillian.

  • - All right, so what did you make?

  • - Yes.

  • - We made this thing which is the mystery machine.

  • It's a set of six to seven quizzes,

  • depending on how you play.

  • And there's a backstory to it, about gag videos.

  • So there's an evil guy when I was creating this,

  • might actually destroy all gag videos on the internet.

  • And we have a friend

  • who load the ant-virus through that,

  • to save all the gag videos inside this machine.

  • So we want to plug the machine,

  • and solve all of the puzzles,

  • and make sure we have gag videos for the interneting.

  • - Well this is a very important work

  • that you are all in. - Yes, it is.

  • (laughing)

  • - Cute.

  • - Okay, so what's the best way?

  • Does one of you want to like press around?

  • Or should I be trying it?

  • What's the most effective? - I can,

  • yeah, I can do.

  • - Maybe has.

  • - If you would, okay, so I can help you with the first one.

  • - Okay.

  • - And then you can probably

  • get on with it. - Okay.

  • - Oh okay, so because it says no connection found.

  • - Okay.

  • Oh. - And there's

  • an internet cable hanging out.

  • So you can probably plug in the internet cables.

  • There you go.

  • It says connections are repaired.

  • Oh yeah, keep playing around as much as you want.

  • - Oh, that one. - There you go.

  • - It's got that fast.

  • - Yeah.

  • - Square waves, that's nice.

  • Let's turn everything on.

  • We oughtta turn this,

  • this switch looks like it really needs to go on.

  • - No.

  • - Oh boy.

  • - It's one thing, do not touch.

  • - Oh.

  • - There you go, something happened.

  • - Oh wait.

  • Oh wait, wait, wait, wait.

  • We've got a line that feeds here.

  • Oh perfect, pull.

  • Oh boy, this is very satisfying.

  • Uh-oh, I'm not actually, it's not very forgiving.

  • - You're almost there. - You almost

  • - Yeah, you're almost there. - need to be exactly.

  • - Oh, okay.

  • - There you go.

  • Okay, you're on to the next puzzle.

  • - This really reminds me of another television show, Lost.

  • If you guys are

  • familiar with it-- - Yes.

  • - Set up of like the weird underground strange things.

  • Okay.

  • - Yeah.

  • - Wait, what do I do now?

  • - One in seven to try.

  • - One button is telling you this.

  • - I did this one already.

  • And it's on.

  • - Here that comes, but not on.

  • Yeah, that switch-- - Oh, I'm not

  • supposed to leave it on?

  • - Yeah, (speaking faintly).

  • - I can call my.

  • - Something else on the cross.

  • - Something else on the coordinates.

  • These ones, these ones. - Oh, shut these, I.

  • Oh, look at this.

  • Okay, but there must be some pattern to this

  • that I'm supposed to get.

  • - Yes. - Yeah.

  • - It's really frustrating. - That's not it?

  • - Oh, you're almost there. - Almost there.

  • And this one was how quickly you are.

  • We wanted to make one, which was this thing.

  • Impossible to solve like this.

  • That some of these boxes that I told you to do.

  • You can do more here.

  • - Yeah. - In fact,

  • even I don't know the answer

  • to this one. - Only I

  • know the answer to this one.

  • - You said it, I think you, you threw me off

  • by saying it was almost there.

  • - Yeah.

  • - Okay, let me give you a hint.

  • Two of them go up, and three of them go down.

  • - Okay.

  • It's no server, all right.

  • I'm going to try every possibility.

  • (laughing)

  • - There we go. - You good?

  • - Yeah.

  • See I was actually, what I was trying to do there,

  • was I wasn't just imagining it was actually

  • some logic to - Yeah.

  • the pattern. - There is a logic.

  • - Okay. - So,

  • the thing is,

  • - There is. - the logic repeats

  • three times.

  • - Ah, okay. - So every thinks,

  • okay, I got it, but it doesn't answer it though.

  • - Got it. - Unless we want

  • - Got it. - them to get

  • - Got it, got it. - the same one.

  • - There's more?

  • - There's two more,

  • yes. - There's two more.

  • Great, yeah.

  • - Actually, you have a plug.

  • - You might need two hands for this one though.

  • - You will need

  • two hands for this. - Here, you can hold this.

  • - Yep, yeah.

  • - Okay. - No way,

  • that would ruin my shot.

  • - Oo. - You got it?

  • - That looks very familiar to me.

  • - That's fooling eyes.

  • - Yeah, so (laughing) I just

  • took a guess. - I didn't know you had it.

  • - Do I get extra points for knowing those go in there?

  • (laughing)

  • - That's an excellent cheat you found.

  • - Oh this now. - Yeah, there you go.

  • - You had.

  • - Cat videos are strange. - You have cat videos.

  • - That's great.

  • - Yep. - Remarkably fun.

  • (laughing)

  • - Thank you.

  • - What, is this just, I mean,

  • I feel when it does ask me this,

  • what I assume this is just a

  • plain. - iPad.

  • - It's running on the iPad.

  • - You did a nice job with the sort of color and design,

  • the topography, and make it really feal like it's not.

  • Yeah, it works well.

  • Great job.

  • - Thank you. - Thank you.

  • - Okay, I'm a keep goin'.

  • Oh hi, Ashley.

  • - Hi. - I want to

  • interview about your project.

  • - Sure, sure. - Okay.

  • Say your name, where you're from,

  • and then tell us a few sentences about your game.

  • And then we'll come in closer

  • - Okay. - with the camera.

  • - Okay, I'm Ashley Lewis.

  • I made lost and found bots.

  • And so they are these little robots

  • that feel lost without one another.

  • And when you connect their hands, they feel found.

  • And so it's just an experiment around

  • how to add personification to electronic components.

  • And like if a robot, if connectors were things

  • that humans had, like what, how would we use them

  • to feel emotions.

  • - Cool. I love the, - Yeah.

  • - I just love the name,

  • lost and found bots. - Thanks, thanks.

  • (laughing)

  • - Okay.

  • - Yeah. - Oh, they're beautiful too.

  • Wow. - Thanks.

  • Yeah, so these are them.

  • So you can see their little faces say lost.

  • And then when you connect their hands.

  • You have to bring them really close, like they're hugging.

  • And then, they'll feel found.

  • That's it.

  • But it's a prototype for a bigger project.

  • I want to build a robot society.

  • - Uh-huh.

  • - Where there are like 10, and you can connect their hands

  • in duos or trios to find out

  • - Right. - what their

  • like rules of their society are,

  • and how they operate socially.

  • - It's interesting, 'cause there's a temptation

  • to really like make these anthro,

  • makes these real anthropomorphic.

  • - Yeah. - But they feel,

  • they have personality to them, but they're not like,

  • oh look here's the eyes, there's the nose.

  • - Nice. - So I think

  • that works really well.

  • But I love this idea of like,

  • it feels like they're sort of hand holding.

  • Is there a reason, one thing I'm curious about,

  • is there a reason why you picked the red color as the LED?

  • - Right. - 'Cause that feels

  • kind of like alarm, alarm.

  • - I understand. - As opposed to like,

  • here we are together.

  • - Yeah, I felt like it would as like heart,

  • like love. - Ah, okay.

  • - Like affection, - Yeah.

  • - kinds of things. - Yeah.

  • - But yeah, I feel like it's like

  • maybe through the human lens,

  • a like big red LED - Right.

  • - is an alarm.

  • But maybe through a robot,

  • - The bot, yes. - it's like

  • affective affection. - Yes, I totally.

  • - You know. - There is a whole

  • robot language that I am not

  • familiar with, so. - Yeah, yeah.

  • I'm only learning to speak it, so.

  • - Awesome, beautiful.

  • - Yeah. - Great job.

  • - Thanks, thanks. - And what's on,

  • what's like, what's, like have kids come up to this,

  • and wanted to play with it?

  • - Yeah. - Or like what's the?

  • - Yeah, yeah, it's been really well received from kids.

  • I think like I've learned a lot about

  • the different kinds of stories

  • that people build around it. - Yeah.

  • - And that was most exciting when I was talking to kids,

  • like what narratives are in the world

  • of these little robots, so.

  • Yeah. - You did a great job.

  • - Thanks, thanks.

  • - Great, okay.

  • All right, we're movin' along here.

  • This is another project, yes?

  • - Yeah.

  • - Can you tell us your name, and a few sentences about it?

  • - Sure, hey, I'm Caleb.

  • This project is called mood ring.

  • It's just a mirror that's also a mood ring.

  • - So a mood ring, the way I understand it,

  • is the thing that you put on,

  • and it changes colors based on your mood.

  • - Right.

  • - So that's what's happening with this mirror?

  • - Right.

  • - Okay. - So if you

  • walk up to it, and stand like about here.

  • And it'll track your face,

  • and try and figure out the emotion based on.

  • So it thinks you're sad.

  • And it looks you're mad.

  • Now it thinks you're surprised.

  • Now it thinks you're mad again.

  • - We should show a little behind the scenes here.

  • You go up and, right, go up and we see the,

  • the camera, no. - The camera?

  • - I thought this would be an exciting moment.

  • - Hi everyone.

  • I'm sorry it's shaky, I'm getting tired.

  • - None of your face is in the mat.

  • - Oh.

  • - You can be on the right.

  • - What? - Oh, it thinks you're sad.

  • - Everybody in the chat - oh.

  • - Should be very very nice, and kind to Jenny here,

  • who's been carrying this camera for so far 45 minutes, and

  • - Just started.

  • - and we might need to take a break soon.

  • And we're going to keep going.

  • - Thank you guys.

  • - Thank you so much Caleb. - Stay strong.

  • - Okay, Tushar can you tell us your name,

  • where you're from, and a little bit about your project?

  • - Okay, my name is Tushar and I'm from India.

  • And this is a voice synthesizer

  • which makes music from your.

  • And it's unknown since that you can play music on cue,

  • sort of collaborate with a synth.

  • Then you say okay,

  • make me some music using these three or four notes.

  • And since it gives you what it feel like today.

  • So you want to try it?

  • - Yeah. - Okay.

  • - Can you, will it come out of the speakers?

  • - Yes.

  • - Okay, great.

  • So actually what, maybe you should perform it for us.

  • - Awesome, let's do it.

  • So I record my voice.

  • Hmmmm.

  • And then.

  • (melodic tones of music)

  • (slow melodic music)

  • - So all of the sounds is coming from

  • the first recording you did of your voice?

  • - Yes, so there's an element of my voice in there.

  • There's also a synth, it's called a voice synth,

  • voice and synth

  • - Yeah. - put together.

  • And of course the drums is drums, not the microbionic.

  • - So, but people coming to this show record their own voice,

  • - Of course, yeah, yes. - and then they're hearing it.

  • And are you collecting those, or?

  • - Yes, I'm collecting them.

  • So that's the feedback

  • I got yesterday, - Yes.

  • - and I was like okay.

  • - Yeah. - That's such a

  • great plan. - Digitally make an orchestra

  • of all the people like. - Yeah.

  • - I see you want to be clear and transparent

  • - Yes. - about that you're

  • - Yes, yeah. - collecting people's voices.

  • But it would be beautiful I think to make an orchestra

  • of all the people

  • visiting the show. - Down to show, definitely.

  • - Awesome, great.

  • All right, let's, I'll collect my voice.

  • How do I do that? - Okay.

  • Let me restart (speaking faintly).

  • (mumbling) - You just press record?

  • - So start humming a note into the mic,

  • and while you're singing press record.

  • - Hmmm.

  • Now if I want to hear.

  • - Perfect.

  • - If I want to hear my voice back?

  • - So you only hear it once.

  • - Ah.

  • - It plays it back once.

  • And then you start.

  • (melodic tones of music)

  • It's playing one there.

  • And now you can select notes.

  • - Found it.

  • (upbeat melodic music)

  • - And it's making a melody of it now.

  • And you can decide how complex you guys want it to be.

  • Maybe simpler.

  • Or it can be more complex, this is simpler.

  • - Awesome, so nicely made.

  • It's like, it's look like I go, when I first saw that,

  • I was like oh, you bought a thing

  • to like work with your project.

  • Then I realized, like oh no,

  • you made that thing. - Yeah, yeah, yeah.

  • - It's really good. Good job, congrats.

  • - Yeah, thanks.

  • - Okay.

  • (chattering in background)

  • It's going to be 2019.

  • Hello.

  • - Hi.

  • - Do you want to tell us about your project

  • real quick? - Sure.

  • I would be happy to

  • tell you about the project. - Okay, okay.

  • - So. - So say your name

  • first, yeah. - Yes.

  • So hi, my name is Ellen, and I made this project

  • with Beverly, Alden, and Ling Won.

  • And we made a website that anybody can control.

  • So if you go to visualmode.space,

  • you will have access to the controller.

  • And there are two different modes.

  • You can send your own GIF,

  • or you can change to an abstract shapes visual mode.

  • So part of the fun of this,

  • is that you can try to control it,

  • but anybody can control it.

  • So can you, are you really in control?

  • So what we can do is send a word

  • and change it live if you like.

  • - I have a feeling people are already doing this.

  • - Yeah.

  • (laughing)

  • - Right?

  • - So, yep. - You're not doing

  • that are you? - But no,

  • I'm not doing it, I'm not doing this.

  • So would you like to send a word

  • to begin? - Rainbow.

  • - Rainbow, okay that's good.

  • - I'm so, you know, so out, that's too on the nose.

  • - Let's see if it sends it.

  • Oh, it does. - I think we're,

  • I think the,

  • I think this is the-- - so then we got a rainbow

  • real quick. - Right.

  • But this is like the perfect project

  • for us to actually demonstrate.

  • 'Cause I thought, it's not like

  • - Here, oh.

  • - hundreds of thousands of people watching.

  • - Yes. - But there's going to be

  • - Yes. - hundred or so.

  • There's a lot of stuff going on.

  • That's cool.

  • - So a rainbow

  • really quick. - Yeah, there we go.

  • I like that this is a project that it's hard to

  • probably like control, in the sense that you're

  • just looking into like search stuff on GIPHY.

  • - Right. - So there's

  • a layer of protection.

  • I'm always worried about these kind of things

  • with live streaming.

  • Oh hey, you can put your text here.

  • How do you make something fun, and interactive,

  • and enjoyable, - Yes.

  • - but also and flexible, but also

  • have this kind of protection.

  • - I'm still monitoring

  • - Yes, good, good job - just in case

  • something happens during the show,

  • it is a family program, I have to keep my show.

  • - Yes, yes.

  • - But yeah.

  • Looks like we're going to get a lot of people

  • controlling it all night long.

  • (laughs)

  • - Awesome. Great.

  • - Thank you so much!

  • - Hope we've made your project

  • even more special than it already is.

  • - You have, you have.

  • Thank you! - Okay. (laughs)

  • Alright, let's come over, let's try to make a--

  • How are you doing there, Jenny?

  • - [Jenny] Good, good. - You're okay? You sure?

  • Cause we can stop, take a break?

  • - [Jenny] Good, maybe at an hour.

  • - At an hour we'll stop and take a break,

  • cause we can also switch for a little bit.

  • - [Jenny] Oh.

  • - (laughs) You might not want to be on camera.

  • - [Jenny] I don't really want to be on camera, thanks.

  • - Can we ask about your project?

  • - Uhhh... - We'll come back.

  • - Okay. - I see it on your face.

  • Okay, MH, are you... - I'm also

  • - We'll come back, okay.

  • Let's go over here.

  • Here, can you tell us about your project

  • that you made with Julia, right?

  • So tell us your name, Julia's name,

  • and a few sentences about this project,

  • and then we'll play around with it.

  • - Sounds good.

  • My name is Stefan, my partner is Julia Rich.

  • Unfortunately, they are not here right now,

  • but I can do my best to explain on my own.

  • It's an interactive alien garden.

  • So the idea is that it's sort of a discovery experience,

  • users will come in and touch things, it's very tactile.

  • And just discover different interactions,

  • different sort of playful elements.

  • - My kids were here at the show yesterday,

  • and this is one of the highlights for them.

  • Just to be able to, I mean, I already know what happens,

  • but maybe we can show a little bit.

  • - Sure. - Okay, I don't know

  • what the best... - You can cross them.

  • - There you go. - Okay.

  • So I'm going to open up this.

  • - So there's a little Fluff who lives in our garden,

  • and he sometimes makes an appearance under the rock here

  • when you lift it up.

  • - By the way, it took a while for the kids

  • to figure out that this is that rock.

  • It's not like, which is, no, that's the good,

  • that's the fun part.

  • It's not really meant for me to just come over here

  • and do it.

  • Fluff also comes over here, right?

  • - Yeah, so Fluff actually, we like to say he lives

  • in this cave over here, but he's a little more shy

  • with visitors in his cave, so he doesn't always like

  • people to reach their hands in there.

  • So he'll hide away.

  • - Let's see if Fluff comes out.

  • But also, there's something here I can do, right?

  • Woops.

  • Oh no, no. - [Jenny] Oh no.

  • The microphone. - The microphone.

  • - [Jenny] Okay, great.

  • - It requires a delicate touch.

  • (digital beep)

  • There you go.

  • As you can see, it lights up all these different mushrooms.

  • We like to think that they're all sort of connected

  • by an underground like root system,

  • so they all lead to this flower here.

  • - Maybe there's something over here.

  • Who knows?

  • - Just like the wind blowing through the grass.

  • - And you're both, you're showing this somewhere else?

  • - Yes, Julia and I are actually going to be showing it

  • at the Children's Museum here in Manhattan.

  • We're pretty excited to have some younger kids

  • manhandle it, it's sort of the ultimate playtest, I think.

  • - Yeah, and it's amazing.

  • I mean, tons of people all playing with it yesterday,

  • and looks like it's still working just fine.

  • - Knock on wood, yeah.

  • (laughs)

  • - Awesome. - Thank you.

  • - Sure, let's go over here.

  • Alright, we've come for the real deal, Emily.

  • - The real deal? (laughs)

  • - You come up here, and we'll first just say,

  • because there's some light here,

  • - Oh great. - Tell us your name,

  • where you're from and a couple sentences about your project

  • and then we'll see it in action.

  • - Okay, great.

  • Hi, I'm Emily.

  • I'm from Los Angeles, and this is an interactive

  • about how we can power our days using solar cells.

  • It tries to also detail some of the complexity

  • of that process, so I guess I'll try it in action

  • if that's okay.

  • - Sure, yeah.

  • - Okay.

  • So this is the intro page, but we can power our days.

  • And there are four different modules that we can experience.

  • One of the complexities is the voltage generated,

  • the voltage that can be generated from the solar panels.

  • And you can see the relation between the position

  • of the house and the angle of the light,

  • and how that makes a difference with how much power

  • can be generated from the solar panels.

  • And another perspective that I've included here

  • is a cross section of the solar cell.

  • So in a bit, you will see the science

  • of how solar cells work.

  • So the photons hit the solar cell,

  • and it generates this charge carrier

  • that moves through the circuit,

  • thereby creating electricity or power.

  • - And you made all these animations.

  • - Yes, using P5JS.

  • - Amazing. - Can-do tool, yes.

  • - And then how are you, sorry to interrupt you,

  • how are you then communicating to all of the

  • physical elements here?

  • - Yes, great question.

  • I am using Arduino to communicate.

  • And also the serial port P5.0 port

  • to communicate with the buttons,

  • so every time a button is pressed,

  • it sends a message to Arduino,

  • oh, this button is pressed, go to this page now.

  • And there's also a night mode,

  • because it talks about the excess energy.

  • So when you go to night mode it says,

  • oh, you can use that excess energy that's stored

  • during the day to light up your house.

  • - And this is obviously amazing, this demonstration tool,

  • but is it actually also these solar panels

  • are actually active?

  • - Yes, they are. - They are, oh wow.

  • - Yes, these are the sensors in this.

  • - Ah, amazing! - Yeah, they're doing

  • an analog read to get a reading to do

  • these live-time animations.

  • So it is really acting like a sensor.

  • - That's amazing.

  • This is, I feel like this should be required viewing

  • for like science museums about energy and everything.

  • - Thank you so much. - Great job.

  • Yes, okay, awesome.

  • - Thank you so much, oh my gosh,

  • I want a picture of that.

  • - You were great, you were great.

  • You don't need to.

  • It's perfect. (laughs)

  • Do you want to tell us, I know this is something harder

  • to demonstrate, because it requires the phone

  • and that sort of interaction - Yes.

  • - But do you want to just say your name

  • and a couple sentences about your project?

  • - Yes, of course.

  • My name is Veronica Fiel, from Costa Rica.

  • My project is called 36 out of 100.

  • It's a physical data visualization of 36% of women

  • who have experienced physical and/or sexual violence

  • at some point in their lives.

  • So I am using my voice to tell their stories,

  • I'm giving them a voice.

  • And I built this interactive piece

  • so that every time that the user pick up the phone

  • and plug the jack, then a story

  • - [Project] 36 out of 100 women

  • - Of one of those 36 women is told through my voice.

  • (project continues, drowned out by Veronica)

  • It's a physical data visualization of like 100,

  • representing 100 women, and 36 of them

  • have a story, a sad story to share.

  • - Is that based on a specific statistic,

  • - Yes, yes, yes. - Or, yeah.

  • - All ECD data collected in 2014.

  • It's in the U.S., it changes in different countries,

  • but I'm representing the data in the U.S.

  • - It's a very powerful way of representing,

  • because it immediately has that impact on me to see,

  • the sort of amount of places there.

  • - Great, great job. - Thank you so much.

  • - Here, why don't we at least get a little footage.

  • I will listen to one.

  • (Project voice continues)

  • Oh we can hear, you've got it coming out

  • of the speakers too.

  • - No, that's like video.

  • - Oh, that's just the explanation.

  • - You can pick one, and then you pick up the phone.

  • - [Project] Pick up the phone and connect the audio jack

  • - This requires a lot of hands.

  • - [Project] 36 out of 100 women represented

  • by the circles in this board have experienced

  • physical and/or sexual violence from an intimate partner

  • at some point in their lives.

  • Pick up the phone and connect the audio jack

  • so that I can tell you the story of one of them.

  • 36 out of 100 women represented with the circles

  • in this board have experienced physical and/or sexual

  • violence from an intimate partner at some point

  • in their lives.

  • Pick up the phone and connect the audio jack

  • so that I can tell you the story of one of them.

  • 36 out of 100 women represented with the circles

  • in this board have experienced physical

  • and/or sexual violence from an intimate partner

  • at some point in their lives.

  • Pick up the phone and connect the audio jack

  • so that I can tell you the story of one of them.

  • 36 out of 100 women represented with the circles

  • in this board have experienced--

  • - It's a really nice interaction.

  • It's very different than, you know,

  • putting on headphones for example,

  • to use this actual device, it has a more intimate quality,

  • it sounds like you're on the phone with someone.

  • Is there a reason why you chose to use your voice

  • as opposed to ask some of the women

  • with their stories to speak?

  • - Yeah, most of the stories are anonymously told.

  • - Yes, right.

  • - So my prompt is, there are many untold stories,

  • and I want to give them a voice, and give women

  • a way to communicate their stories

  • without having to tell their names

  • or show their faces, which is, even collecting the stories

  • was a really difficult process, because it's really

  • difficult to share these kind of stories.

  • So yeah, that's the reason why I'm using my voice

  • to communicate their stories.

  • - Great job.

  • - Thank you.

  • - Okay.

  • Oh boy, are we going to be able to try this?

  • - Yeah, you can.

  • It'll be a little weird with the camera, but.

  • - First, why don't you first tell us your name

  • and a few sentences about your project?

  • - My name is Gilador.

  • My project is a big box.

  • The box takes the things from the outside,

  • and things that are going around it,

  • and abstracts them to give a different perspective

  • about what goes on around you.

  • And, walk inside?

  • - Okay, sure.

  • - You can sit in any direction.

  • (chattering in background)

  • So what is happening is that there are two cameras

  • mounted on the outside, and the cameras

  • are brought in and displayed along the LEDs

  • that are placed on the walls here,

  • and they get abstracted through touch designer

  • and get displayed here.

  • - It's sort of a nice break from the show,

  • you know, you're kind of in--

  • - I'm going to actually let the door close on you,

  • if you think you want to kind of just

  • talk about how you're feeling.

  • - Cool, great job. - Thank you.

  • - It's very immersive, it is really,

  • it really is immersive.

  • - Thank you. - Good job.

  • Alright, let's take a look at this

  • and then we'll, maybe we'll have a break.

  • - This at least we should get,

  • this is kind of nice, I think, for just a...

  • Oh, both cameras are on the other side now.

  • - Yes, so right now, on this side,

  • it's actually performing as a window,

  • where you can see what's behind it.

  • And on the other side, it's performing as a mirror.

  • - Mirror, oh, okay.

  • So let's start over and just say your name

  • and tell us the name of your project

  • and then a couple of sentences about it.

  • - Hi, my name is Alvin, and this is a project

  • that I did and the name of it is called Space Between Us.

  • It's a light installation and it's composed of

  • two separate screens on each side.

  • And that's what I was saying, on one side

  • it's a window and on the other side it's a mirror.

  • So I could stand on the other side and you could actually

  • stay there, and, right, you're seeing me.

  • Back up.

  • If I just walk by...

  • Great job.

  • This one I didn't see yesterday.

  • Should we take a break for a little bit?

  • You okay?

  • - Yeah, I've been, - Okay.

  • - Oh, well, whatever.

  • I don't think I need a break.

  • Am I shaky?

  • - No, you're fine, you're doing great.

  • - Ask the audience.

  • - I just-- - Ask the audience

  • if I need a break.

  • - Yeah, she flies, hi!

  • - Can you tell us about your project?

  • - Yeah.

  • - This is a collaboration?

  • - [Both] Yes.

  • - So tell us your name, where you're from,

  • and a few sentences about it.

  • - I'm Jenny, I'm from Taiwan, and my background

  • is UIX designer.

  • - I'm Morgan, I'm from Reno, Nevada,

  • and my background is electrical engineering.

  • And this is called Reverie Fields.

  • It's kind of a self reflection experience

  • where the user is prompted to think about

  • a memory, and then the emotions associated

  • with that memory.

  • And then through these hands, they'll kind of transcend

  • those emotions and memory into lights,

  • and manipulate the lights accordingly.

  • - Where'd you get the idea to make this?

  • - So we both wanted to tap into the emotions

  • and memories, and then we kind of want to

  • try to express it through light.

  • And we make sure that we don't use LED lights,

  • because we think it kind of gives you the feel.

  • - It's like the hue of these lights goes really nice,

  • and kind of emotes the memory.

  • - Great, so can I try it?

  • - Yeah, of course.

  • - Do you want me to hold this for you?

  • - Yeah, you can hold it.

  • You can talk into it, too, if you have anything to say.

  • - Hii.

  • - You won't be able to hear.

  • So I put my hand here?

  • - Yes.

  • (drowned out by chattering)

  • It'll prompt you to do it.

  • - Oh, it'll prompt you.

  • (chattering in background)

  • This is very intense.

  • (laughs)

  • In a good way.

  • It's beautiful!

  • I almost want to wish that, in some ways,

  • I guess I'm not looking behind me,

  • but it's somewhat immersive, you could imagine

  • building this, and you're just surrounded

  • by all these lights.

  • It works in the sense of the show,

  • but you can also imagine in a completely dark, quiet room.

  • - That would be ideal.

  • - Exactly what the original concept was.

  • - Yes, yeah. Wow.

  • - Do you mind sharing what kind of memory you thought of?

  • - I was thinking about my daughter, when she was born.

  • - I knew it!

  • - I don't know if that's like, too cliche,

  • but that's always what jumps into my mind.

  • - Oh, it's pretty sweet.

  • - I have to admit, I was really in the moment

  • and thinking about the memory and really focused on that,

  • and then all of a sudden, once I'm doing the fingers,

  • I'm just excited by the interactivity of the lights.

  • - Yeah, that's fair.

  • - But in a way, it's interesting,

  • that balance between having stuff happen for you,

  • and I thought, oh, it's going to like sense my heartbeat,

  • and it's going to like do something,

  • but what's sort of automated and what you ask me to do.

  • - Yeah.

  • - Yeah, cool.

  • Great job.

  • - Thank you so much for trying.

  • - Thank you! - Sure.

  • You should, do you have this soundtrack?

  • You should send that to me.

  • Because we can overlay it over in the video, later.

  • - Okay.

  • We actually have a female and a male voice,

  • which did you want?

  • - I had the female voice, but either one's fine.

  • - The female voice is mine, by the way.

  • - Can we try the bird?

  • We missed the bird, okay.

  • - Take a seat.

  • - Okay.

  • Say your name.

  • And tell us about your project.

  • - My name is Tanik, and this is my partner,

  • Waijie.

  • - I'm Waijie.

  • And this is the invisible bird project.

  • - So we use like sentimental analysis

  • to analyze a lot of tweet, on Twitter.

  • And we decide it's a positive or negative.

  • And then we bring the data back to the game.

  • And user can guess what public opinion

  • about one topic, and guess what majority

  • being about this topic, is it negative or positive.

  • And the bird will interact with you

  • and tell you the result.

  • You can try it!

  • So, to start it, you say "Where is my bird?"

  • - Where is my bird?

  • - Maybe you have to say it louder.

  • - Where is my bird?

  • - So this data come from Twitter,

  • and you can read the negative and positive

  • before you decide which is like majority topic

  • about Taylor Swift.

  • And then you have your almond.

  • You can feed almond inside the cage,

  • and then the bird will tell you the result.

  • - [Project] Your guess about Taylor Swift is right.

  • - Woohoo!

  • - So, if you're right, the bird will eat

  • the one that you feed.

  • But if you're wrong, the bird will shit and fly away.

  • You can try it again.

  • - Where's my bird?

  • - [Project] Do you think Twitter's

  • attitude about Trump is positive or negative?

  • (chattering in background)

  • - Where's my bird?

  • I have one.

  • - Yeah, you have one.

  • - Probably should have tried to get it wrong once.

  • It's okay, I'm happy to be right both times.

  • Great job.

  • Okay, alright.

  • So I think we've kind of start to be a little more

  • curatorial here and move a little more quickly.

  • We've seen maybe, what, one tenth of the show?

  • Let's go towards, we'll come back here,

  • we'll head back here.

  • Okay.

  • Alright.

  • Tell us your name, and a sentence about your project.

  • - My name is Mohammed.

  • - And where are you from?

  • - I'm from Iran.

  • Hi guys.

  • And yeah, so my project this year is a natural clock.

  • And this project shows you the time of the day

  • not like some arbitrary number.

  • By that I mean, this hand shows the position

  • of the sun in the sky.

  • And this part is the daylight,

  • and this part is the nighttime,

  • your sunset, your sunrise, this will be like high noon,

  • and midnight.

  • So the idea is like it show you the time of the day.

  • That means how much daylight you have,

  • the actual, because it takes a full day to do a full circle.

  • So yeah, it's a more natural way to look at the time.

  • Cause like 24 hours, hours is an arbitrary segment.

  • Could have done it like any length.

  • - It's beautiful, the design, what is,

  • is this pattern that's on there a particular design?

  • - Um yeah, the design is actually inspired by

  • a 17th century Persian astrolade made for the king

  • back then, Abbas the second.

  • And I actually removed his name from here.

  • But yeah, it's based off of that

  • to point out the heritage, and generally point out

  • the astronomical aspect of this project.

  • - Wonderful, great job.

  • - Thank you very much.

  • - Okay.

  • Do you want to give us a quick, tell--

  • these are hard to do with the sound.

  • - I know, I could take the sound out of them.

  • - It's okay.

  • Just tell us your name and a couple sentences

  • about your project.

  • - Okay, I'm Gabriella Garcia.

  • This is the Intergalactic Messaging Center.

  • And I took a retrofuturish phone

  • and totally pieced it back together,

  • so it's all original elements.

  • And I collected a bunch of voicemails

  • from other ITP students by a burner number.

  • And about what they would see in the future.

  • And most of them, actually everybody was really

  • optimistic about the future, which was like

  • hyper-surprising, because I wanted to create

  • more of a narrative phone tree,

  • with apocalyptic visions and whatnot,

  • so I ended up creating the branching narrative

  • using more fictional sounds and samples

  • from sci-fi movies like 2001: A Space Odyssey

  • and Dr. Strangelove.

  • But it's a fully functional IVR.

  • I coded it through P5.

  • And it also has a physical ringer.

  • Everything is like art we know through here,

  • the keypad matrix triggers through P5,

  • and... it's... cute.

  • - Amazing.

  • I love all the phones this year,

  • there's so many old retro phones, it's awesome.

  • - I think we were all missing something, you know.

  • Really missing something physical in our lives.

  • But it keeps people here for as long as they want.

  • - Let's move back this way.

  • (chattering in background)

  • So my strategy now is to try to like

  • speed through a few different areas

  • and then eventually we'll make our way downstairs,

  • and that's where we will finish up.

  • Where are we at, 4:15?

  • Doing okay there, Jenny?

  • Okay.

  • Alright, let's come back and what do you want to see here?

  • Let's take a look at, I guess we could just

  • get some footage of this room in general.

  • Can you tell us your name and where you're from

  • and a few sentences about this project?

  • - Okay, my name is Haik.

  • This project is called the Invisible Orchestra.

  • We made it with my colleague, Grant.

  • So this is actually touchless musical instrument,

  • which is designed for performing artists

  • to incorporate this with their performances.

  • So it basically creates music with your body movement

  • and gestures, which allows, Grant can you--

  • - Oh yes, I need to tell my family that I'm on.

  • I'm famous.

  • Alright, wait.

  • I'm on... yeah, they've been waiting for this.

  • - Oh, seriously!

  • I feel very stressed out now, what if I hadn't

  • made it back here?

  • Okay, tell us your name and where you're from and--

  • - Hi, I'm Grant, I'm from Charleston, West Virginia,

  • shoutout to Dan and Sarah and Stella and Elise.

  • This is the Invisible Orchestra.

  • It is a series of instruments that can be played

  • using hand motions.

  • Should I just...?

  • - Yeah, go for it.

  • Go for it.

  • - Okay.

  • (melodic music)

  • - That was amazing.

  • Did you guys spend a lot of time rehearsing that?

  • - Oh yeah, yeah, yeah, constantly, actually.

  • Every day for the past week.

  • - Beautiful.

  • Yeah, it's really nice.

  • Great job.

  • - Thanks for stopping by.

  • - Okay. Alright.

  • Let's try over here real quick,

  • I know this is tricky but, here.

  • Tell us your name and a couple sentences

  • about your project.

  • - I'm Casey Kanchina.

  • My project is called Constapineation.

  • I did with my partner Mark Wayne.

  • And it's essentially a community line drawing.

  • And so you go inside this tent,

  • you connect two points, and then it gets added

  • into this big drawing that gets projected

  • on the outside of the tent.

  • So do you want to try it or should I do it?

  • - I'll try it, I'll try it.

  • - Alright.

  • Describe how you feel.

  • - I think you might need to hold this open.

  • - Yeah.

  • - This is my rainbow.

  • Or sine wave.

  • How about I do like a Fourier series?

  • Square wave.

  • - Wow, getting mathy there.

  • - Must be a way to do like a smiley--

  • oh, I can't stop.

  • Smiley face.

  • It's very satisfying to draw.

  • And now we can, we'll find it on the outside.

  • - Yeah, so it's on the outside now.

  • Alright, it's on the top right now.

  • And then we have a party mode.

  • - This is the party mode.

  • - Yeah.

  • So that's it.

  • - Alright, we're going to do one more project back here,

  • and then we're going to move along.

  • So tell us your name and then a couple sentences

  • about your project.

  • - My name is Jackie Lu.

  • And my project is called the Body Pillow.

  • So, what the Body Pillow is, it's a speculative

  • project that tries to answer, if we can replicate

  • the feeling of human skin and human touch,

  • can it bring the same benefits,

  • emotionally and physically.

  • - Sorry, I got distracted by Rob.

  • - Yeah, no worries.

  • Me too.

  • - This was also one of my daughter's favorite projects.

  • Sitting in this chair yesterday, just hugging the pillow.

  • - Oh yeah, I got a great picture.

  • - I got a really good picture of her doing that yesterday.

  • - Yeah!

  • - Great job.

  • - Thank you.

  • - And I created a prototype.

  • - I'm just going to, let's just come, this was fun too.

  • I'm just trying to like move through these projects quickly.

  • (rings bell)

  • Alright, tell us your name and a couple

  • sentences about your project.

  • - Okay. I am (Japanese name) from Japan.

  • I'm a first year ITP student.

  • This is my ICM project.

  • I have actually two installations here,

  • but this is my ICM project.

  • So you can make paintings by a sound.

  • So like, here.

  • (bells ringing)

  • Like this.

  • Or...

  • (wooden rattling)

  • So different timbre generates different color,

  • and the size of the paint is based on the amplitude.

  • And also you can make snow falls,

  • jelly blossoms, and autumn leaves.

  • So I would like to use this in my life reference,

  • which has three year olds.

  • Yes.

  • So that audience also can play with this.

  • - Great job, congrats.

  • - Yeah, thank you so much.

  • - Okay, do you want me to carry this for a little bit

  • as we move to give you a break,

  • - [Jenny] Oh, sure. - As we move to,

  • let's do that.

  • You just hold this.

  • - [Jenny] Okay.

  • - And I'm now carrying this thing.

  • So we can go, yes.

  • This is what we can do, we can move now.

  • I'm walking through the hallway.

  • I kind of forgot that I'm livestreaming.

  • There's 247 people watching us now?

  • That's a lot of them.

  • So I think we should move down this hallway

  • to the room in the front.

  • And then we can kind of catch some of these projects

  • a little bit.

  • We can see them.

  • We're kind of getting some,

  • it's sad, but I just cannot,

  • we cannot catch all the projects.

  • So I'm just going to go by some of these.

  • Okay, move over here.

  • And then, oo, it's crowded here.

  • Alright, so let's... oh, the dark room.

  • Oh, interesting.

  • Okay.

  • (crowd chattering)

  • Oh, thank you.

  • Say hello to the livestream.

  • - Hi! I love BFP by JIS.

  • - It's going live right now.

  • I should have stickers with me.

  • Okay, let me think here.

  • Oh this project is wonderful.

  • Let's take a look at this.

  • Alright.

  • I think I'm going to be a little, just catch them here.

  • Okay everybody, we're back.

  • I mean we were here the whole time,

  • but I took a mental break there for a second.

  • Okay, can we get some information?

  • So tell us your name, where you're from,

  • and a few sentences about this project.

  • - Hi, I'm Jasper from China.

  • And our project is called Forming Hobbies.

  • We are trying to show the relationship

  • between people and smartphones.

  • And you can interact with them

  • by putting your phone here.

  • Want to try it?

  • - I would, but my phone is right here right now.

  • - Oh, this is mine.

  • - Probably on the livestream.

  • - Okay, so once you put your phone here,

  • they will all be affected by your smartphone.

  • And they keep moving their heads up and down.

  • We are doing a metaphor, just showing the relationship

  • between people and smartphone.

  • You see they keep moving their heads up and down,

  • just like we constantly check message

  • from our smartphone.

  • And once you remove the phone,

  • they will back to normal life.

  • I don't know if people can hear the sound,

  • but the little chattering sounds,

  • and the music suddenly changes,

  • and everybody bows down.

  • It's really really effective in communicating the idea.

  • This is just so beautifully made.

  • There's so much personality in these characters,

  • it's great.

  • We won't give the personality to the puppets.

  • (music)

  • (puppets chatter)

  • Beautiful work, great job.

  • - Um, let's move out here.

  • This is a fun project.

  • We can just watch these people,

  • I don't know if the creator of the project is here.

  • - [Jenny] I don't know if the screen will read.

  • (chattering in background)

  • - Is this your project?

  • - Yeah!

  • - Okay, so tell us your name, and tell us

  • a couple sentences about your project.

  • - My name is Sharianne.

  • - My kids love this one, I don't think you were here

  • when they were doing it.

  • - My name is Sharianne.

  • This is my project called Tube Man is Happy.

  • So basically it's two dancing peoples

  • where you're supposed to follow the movements

  • of the tube men and transfer yourself

  • into a happy tube man.

  • And get a gift, send it to yourself,

  • share it with your friends.

  • I started the idea because I want to make everyone

  • feel happy, and I just love, I'm obsessed with the tube men.

  • So I created a speaker, and then I want to transfer

  • everyone into that, and ensure the happiness.

  • - Can I try it?

  • - Yeah, sure!

  • You guys want to send it to yourself?

  • - Are we sending it?

  • - Yeah, you got it.

  • - We have to, we're going to wait for a second,

  • we're going to watch them.

  • This is good actually, we've got some footage of them

  • sending theirs.

  • - And this is not your mailbox.

  • - We had some reindeer like things here yesterday,

  • and my daughter was wearing them.

  • Was very obsessed with it.

  • - I still have those Christmas.

  • Do you want to see if we can use to take pictures?

  • - [Jenny] Very dashing.

  • (laughs)

  • - It's very funny how this is right by the elevator.

  • Okay, here we go.

  • - [Jenny] Oh, that's me.

  • - I have the microphones.

  • It's attached to me, so I can't put it down.

  • This actually works well, like, to...

  • (laughs)

  • (chattering in background)

  • That's the sound of a train.

  • Choo choo!

  • (laughs)

  • Okay, I guess I better...

  • - That was pretty good.

  • - I'm going to be getting a lot of emails now.

  • - [Jenny] Oh, I'm not showing your email.

  • - Okay, I'm putting in my public... alright.

  • Thank you for letting me wear that too,

  • it was very nice.

  • Yeah, she loved it.

  • - Oh, we've got (drowned out by background)

  • - Oh! Yes.

  • - I'm sorry to jump in and interrupt.

  • Tell us your name, where you're from,

  • and a few sentences about this

  • amazing thing that you've made.

  • - Goodness.

  • I'm James, I'm from South Africa originally.

  • And a few sentences about this?

  • So, this is a series of pieces

  • that I did for a class called Fabrication,

  • where you learn how to build stuff.

  • But they all kind of connected together,

  • so I thought I'd put them in the show.

  • Go ahead and spin the, spin the crank.

  • So what's happening here is, as you're spinning the motor,

  • you're generating the electricity that is being used

  • to power all these lights.

  • And what I find really interesting,

  • unfortunately this doesn't translate into video that well,

  • but if I disconnect the circuit,

  • feel it becomes a lot easier to spin.

  • Does it?

  • - Yes.

  • - Yeah, okay.

  • Dan agrees.

  • That is the electrical, that bite that you feel,

  • is the electrical resistance.

  • The energy that's being used to turn on these lights.

  • So that difference in resistance is the work

  • that's being put into turning on the lights.

  • - Can you, the switch, cause this is the voltage readout?

  • - Yes, that's the voltage.

  • - We can get that, and then just unplug it again.

  • Get it later.

  • - Oh, wonderful, okay.

  • So as I unplug this system, it becomes a lot easier to spin.

  • And that difference in resistance is the energy

  • that's being used to turn on the lights.

  • - Cool, great job.

  • - Thank you.

  • - Getting a little exercise today.

  • Okay, let's go head to the undergraduate area.

  • And then we'll go downstairs and be on our way

  • to being done.

  • You doing okay?

  • I should carry when we, carry it in when we go downstairs,

  • if you know what I mean.

  • - [Jenny] Okay. No problem.

  • - Okay, let's... hello, we're going to move through here.

  • And over here.

  • Alright, we're entering the interactive media arts room.

  • It's very exciting!

  • We're moving from ITP to IMA.

  • These are undergraduate students in their natural habitat.

  • - [Jenny] (laughs)

  • - How's it going over here?

  • - Hi, can you come back in a second?

  • - We'll come back, yes.

  • Oh, let's take a look at this.

  • Can you tell us what you're experiencing here?

  • Do you mind being live on camera for a second?

  • He can't even hear me.

  • - Hey. How are you?

  • - I'm good.

  • What are you hearing in there?

  • - I'm hearing each of these donuts

  • tell me a story when I pick it up.

  • And it's triggered by the light.

  • So when you uncover the donut, then you get the story.

  • When you want to hear a different donut's story,

  • you pick a different donut.

  • Or pizza or, dumplings of some sort.

  • - Can you guys come over here and introduce yourselves

  • and tell us about your project?

  • So tell me your names, where you're from,

  • and a little bit about what you made.

  • - Okay, I'm Sama Shinivas, I'm from California.

  • - I'm James, I'm from Ghana, but I live in the Bronx.

  • - So our project is basically a light-hearted take

  • on the inevitable truth that we will lose people

  • in our lives, and so we have three characters,

  • Roger, Rachel, and Ronnie.

  • Roger is an old man who's a retired veteran

  • whose friends are all dying and his wife has died as well.

  • And then Rachel, all her ex-boyfriends

  • left her for some reason or cheated on her.

  • And Ronnie's friends are all moving away.

  • And basically, this is sort of just a playful take

  • on our silver lining where we all are companions

  • in our grief.

  • It's a very implicit theme that you can't really

  • see at face value.

  • But it's also just a really funny way to portray it,

  • anthropomorphic food.

  • - Where did you get the idea for this?

  • - Everything started cause I heard Dunkin' Donuts

  • was changing their name to just Dunkin'.

  • So I was like, I need a donut that

  • can portray this very well.

  • So I created Roger, and then like,

  • that's how the project started,

  • we were like, you know what, we should explore

  • this thing a bit more, and then we spread it out

  • to like three different characters.

  • - I tried this yesterday and the dumplings are my favorite.

  • - Oh, thank you.

  • - Let's try to get some closer up footage of it.

  • The other thing I like about this project

  • is the nice Purell that's here.

  • (chattering in background)

  • Okay, let's go over here.

  • Oh, this is nice!

  • Can we check out this plant?

  • - Yes, of course.

  • - Oh, and the solar system's starting.

  • We're going to try to speed through these projects, so.

  • Tell me your name and a couple sentences

  • about what you made.

  • - Okay, my name's Feif, and my project

  • allows you to enjoy a virtual plant,

  • mainly because I can't keep plants alive,

  • so I have a virtual one.

  • So we start out by pushing the treeometer

  • to the side to decide which plant you're planting.

  • Might have to do it towards the other way.

  • - Okay.

  • - And fern, okay.

  • - Yeah.

  • - So next pat the Force sensor pretty hard.

  • And it'll pat the soil down.

  • You have to go a bit harder than that,

  • there you go.

  • - Okay.

  • - And finally, you need to water your plant,

  • so if you take water from here, pour it into.

  • - Oh, this is where I break the project by accident.

  • (laughs)

  • - There we go.

  • And finally, you need your cell phone flashlight,

  • which I will do for you.

  • So if you shine it, it makes the clouds disappear

  • and your plant grow bigger.

  • And you're done!

  • So it's low risk, low responsibility.

  • - Awesome, great job.

  • - Thank you.

  • - This is super fun.

  • Alright, let's check out the solar system.

  • Can you tell us your names and where you're from

  • and a couple sentences about what you made?

  • - I'm Sarah.

  • I'm from Boston, or Brookline.

  • People are, but yeah.

  • - I'm Aporva.

  • I'm from Chicago.

  • - Our project is an interactive solar system.

  • And what you do is, you, first you

  • have your little rocket ship.

  • And you can select any planet that you want to look at.

  • And then you pick up this little controller.

  • And then move it around, and that will kind of--

  • - Can I try one?

  • - Yeah, sure, go ahead.

  • Yeah.

  • And then, that will control the rotation of the planet.

  • - It's working so well.

  • - Yeah!

  • And then you can go back by clicking on space,

  • and then you can just go anywhere.

  • - Can I also look at the sun?

  • - Yeah, the sun's fair game.

  • So planets plus big star.

  • - The scale is so different, that they're always

  • the same size once you click into it,

  • but you're seeing them at their scale.

  • Cool, awesome.

  • It's a really fun interaction.

  • Great job.

  • Okay.

  • Let's maybe, oh let's try, come over here.

  • Okay.

  • Tell us your name and a couple sentences about your project.

  • - This is a project by Cas and I.

  • Cas is Yaohou, Yaohou Zhong, and he's not here right now.

  • This project is called Space World.

  • So we're creating an experience in the space,

  • it's like you are floating.

  • And when you put up your arms,

  • you begin to fall into this space.

  • I'm inspired like in Washington Square Park,

  • one day, when I was 3, and I saw a pool of water.

  • I saw the way the stars are reflecting.

  • So this is the project.

  • - Whoa.

  • - So I will do a demonstration.

  • - Okay.

  • - You can stand here.

  • (chattering in background)

  • - Wow.

  • That's beautiful.

  • - Thank you. - Great job.

  • So, Helen, can you tell us your name

  • and where you're from, and give us a quick

  • summary of your project?

  • - Hi. - And this is

  • a collaboration, yes?

  • - Yes it is. - Tell us--

  • - Hi.

  • Yeah, I'm Helen Heschens.

  • I'm from Andorra, but I was born here in Manhattan.

  • Our project is called Censorship.

  • And it's a telephone conversation between two people,

  • and it's a machine that doesn't believe in global warming,

  • so you guys, like, you can sit down and have a conversation

  • with someone, and sort of phrases you say,

  • the machine won't let through.

  • So if you say climate change, the other person will

  • hear Chinese hoax, say.

  • So yeah.

  • - Alright, before you get up, can you be our model

  • for a second?

  • - You bet. - Sure.

  • - Act as if you're in the project.

  • (laughs)

  • - Did you see the reporting of the extreme weather?

  • (speakers are drowned out by background)

  • - I love the massive wires.

  • The crazy brain.

  • - The actually is really good too.

  • - And this is your project too?

  • - Yes.

  • - Climate scientists were saying they were worried

  • about greenhouse gasses, and...

  • - I'm James from Nanjing, China.

  • I did the teching that's, she did all the rest.

  • - Congrats.

  • Great job. - Thank you.

  • - Okay.

  • (chattering in background)

  • We're about, we're going to wrap up in like 20 minutes.

  • We'll try to see a few more things.

  • I would love to head downstairs.

  • Just trying to see, I didn't actually make it

  • into this room yesterday.

  • Or that room.

  • So I don't know, I don't know if you have anything

  • you want to...

  • Let's just walk, here, let me carry it for you.

  • - [Jenny] Okay.

  • - And then we'll just walk through.

  • - [Jenny] Okay.

  • - This is one thing that I didn't think about,

  • is that being attached to it.

  • So this is just like, walking through footage.

  • Hey, how are you?

  • Nice to see you.

  • - Oh, so these are elbow cutting.

  • This elbow cutting, and it's removable.

  • So if she spills when she's eating,

  • she can throw these in the washing machine.

  • - [Child] That's cool.

  • - Yes.

  • And they're velcro, and it's just epoxy glue.

  • (chattering in background)

  • - Can we try this?

  • - Sure! - Yeah, alright.

  • Alright, okay.

  • Let's switch this back, hold on.

  • - I've seen funny things on the internet.

  • - Oh yeah. - I don't know.

  • (mic crackles)

  • First Jenna, just come over here, and--

  • - Wait, you're going to play, right?

  • - I'm going to play.

  • But I want you to just say your name

  • and like a couple sentences about your project.

  • - It's your project, not my project.

  • - You can opt out if you want.

  • - Hi, I'm Jenna.

  • This is my project, in which two people

  • compete to see who is the most New York out of both.

  • So what happens is the computer gives you a topic

  • and then two people take turns expressing an opinion

  • about that topic.

  • And the computer scores your response based on

  • how close it is to the most frequently

  • tweeted things by New Yorkers from 2018 about that topic.

  • So you guys want to give it a shot?

  • - Yeah, okay.

  • We're going to play.

  • - Alright, let's do it.

  • - I'm micced, so I'm going to mostly point this at you.

  • - Okay. - So this is, yeah.

  • - Player One, Player Two.

  • - Okay.

  • Sure, ready? Alright, is this pushed?

  • Okay.

  • - [Computer] Pizza.

  • - Oh, I'm Player One.

  • Slice.

  • - [Computer] One player was not in library.

  • - Slice.

  • - Dollar slice.

  • - [Computer] Trump.

  • - Jerk.

  • (laughs)

  • - Huge jerk.

  • (laughs)

  • - I was trying to think of, like,

  • a family friendly way of saying that.

  • - I think I, I don't know if it recognized that I called

  • Trump a jerk.

  • (microphone crackles)

  • - Subway.

  • - L Train shutdown.

  • - [Computer] (indistinct)

  • - Andrew Governor.

  • - Cynthia Nixon should have won.

  • - [Computer] Kanye.

  • - West.

  • - Fashion.

  • - You're much more creative than I am.

  • - I've already played once, so.

  • - Wait, am I trying to get stuff farther or closer?

  • - Fashion. - Closer.

  • - Okay.

  • - Fashion.

  • - There's too many mics!

  • - Fashion.

  • Okay, there we go.

  • - [Computer] Amazon.

  • - Prime. Prime delivery next day.

  • - RIP Long Island City.

  • - [Computer] Hashtag seducing in four words.

  • - Coding train, choo choo!

  • (everyone laughs)

  • - [Computer] Coding train choo choo not in library.

  • (mic crackles)

  • - Here's my seamless password.

  • - [Computer] Player one wins.

  • - Oh, what?! - Woooo!

  • - How did I possibly win that?

  • Oh, the lower score wins.

  • - Yeah, lower score wins.

  • - I am still the reigning champion of this game,

  • cause I did win when we played it in class, also.

  • - This game is rigged.

  • - What's going on over here.

  • I will narrate.

  • I see a sign, a screen that says one minute and thirty...

  • One hour, thirty minutes, ten seconds.

  • That's about... maybe since it started, I would assume?

  • You can interact with this performance.

  • Let's see if we get to be able to interact.

  • Go to augustluhrs.art/play.

  • And there's already 81 people in the queue, so...

  • (mic crackles)

  • (whip cracks)

  • (whip cracks three times)

  • (whip cracks three times)

  • (whip cracks three times)

  • - You helped me make this.

  • - (laughs)

  • It ain't me.

  • Alright everybody, let's let August take some breaths.

  • Who put the take breath, I think that's good.

  • (chattering in background)

  • - [Jenny] I may have to switch to just doing the ten hell,

  • just because there's so little room.

  • - Oh yeah.

  • Well we also, we can move along.

  • Let's just try to get some shots of some of these projects

  • quickly, so tell me your name, a sentence or two

  • about your project.

  • - Sure, my name's Topher.

  • I made this escape room style installation here.

  • Basically you've got a monster here trapped in a cave.

  • You want to set him free, you got to squeeze

  • his feet in the right order.

  • So do either of you want to give that a shot?

  • - I'm great.

  • - Alright, you got the first one.

  • - So I start over again?

  • No.

  • It has to be this one, right?

  • - There we go.

  • - It was a much easier escape room

  • than the one in the other--

  • oh my goodness, there's something going on here!

  • - 263.

  • - Beautiful, 263--

  • wait, what does the number mean?

  • - What does 63 mean, I don't know.

  • - Oh, wait, I have to do more?

  • Oh no, there's a combination here, I see.

  • I said it's not good enough.

  • 2... I'm very nearsighted,

  • so if I take my glasses off, I can see the screen.

  • 263.

  • Alright.

  • I watched a YouTube video on how to like, pick these.

  • (microphone crackles)

  • I had one that I forgot the combination of,

  • I learned to pick it in like five minutes.

  • - Oh, yeah, no that's good.

  • That's actually, it's...yeah, there's a little latch here.

  • - Well, I'm one handed.

  • - Sure, well you've earned it, so.

  • - Oh, oh my goodness!

  • You know who's really earned this,

  • would you like one of these?

  • - Oh yeah, I earned a chocolate.

  • - I'm even going to give Jenny mine.

  • (laughs)

  • - I didn't solve the puzzle.

  • - I know, but you're holding this thing for like hours.

  • - Alright, that's understandable.

  • - Yeah, that's okay.

  • - This one is staying much longer than that.

  • - Oh the longer you draw, the longer it stays.

  • - Ohhh.

  • And it's queued?

  • - Those might just be a bug.

  • - I did draw them.

  • - Yeah no, I think there might be a little bug in the code.

  • - Can you just tell us a couple sentences

  • about your project?

  • - Yeah, my name's Orin.

  • My project is a drawing tool that's also an audio sampler.

  • So every time that you make a mark with the stylus

  • on that tablet, it records sound

  • from those two mics, and you can build up

  • these looping, ambient soundscapes.

  • Um, I'm not sure where to look,

  • there's like the camera there, and anyway.

  • - You're fine, you're doing perfectly.

  • - Great.

  • Yeah, it's a little hard to show because

  • it's with headphones, so maybe if we put

  • the headphones close to the mic,

  • I don't know if that will work.

  • - Go ahead.

  • - Who knows.

  • - So just try, here, I'll reset it for you really quick.

  • - You know, if you actually do this mic,

  • people will hear it, who are actually live.

  • - If I do which mic?

  • - This mic, the one that's up here.

  • - Oh, this, okay, cool.

  • - Yeah, except now your hands are in front of the camera.

  • There you go.

  • Alright, cool.

  • - It's a complicated process.

  • - Can anybody in the chat, if you

  • can actually hear the sound, let me know.

  • People in the chat are not being forthcoming.

  • They can hear it, yeah.

  • - Cats.

  • - So you have to say something while you're drawing.

  • - I know, I can't draw cats and talk at the same time.

  • - That's fair, neither can I.

  • Awesome.

  • - Good?

  • - Cool. Thanks, man.

  • - Did you see the peace bomb?

  • - What's that?

  • - The peace bomb?

  • - The peace bomb?

  • - Yeah.

  • - No, where's the peace bomb?

  • - You don't have to go there right now,

  • it's like, like by the AR.

  • - Ah, we were, okay, we'll come by.

  • Okay.

  • Can you tell us about this project?

  • Tell us your name, where you're from.

  • - I'm Xiaotong, from China.

  • And this is my project.

  • (chattering in background)

  • Also change the pitch at the same time.

  • (chimes)

  • You can see the water it creates pitch.

  • - Can I try it?

  • You can tell us about it while I'm trying it if you want.

  • (chimes)

  • What happens if I do two hands, because I can't--

  • here, hold this.

  • - Oh, yeah.

  • (chimes continue of different pitches)

  • - And are these tuned, did you tune them?

  • Did you tune these to some sort of notes?

  • - No, it's just from...

  • (laughs)

  • - Great job, it's beautiful.

  • Amazing, you built this whole thing.

  • Awesome.

  • Alright, give us a quick explanation of this?

  • Tell us your name.

  • - Sure, hi, I'm San, and this is my project.

  • It's called Access.

  • The inspiration is accessibility.

  • And I want to create something that give everyone

  • and anyone an awesome interactive experience,

  • regardless of what limitation you may have.

  • So this interaction is designed for two people.

  • One's supposed to be visually impaired,

  • and the other's supposed to be hearing impaired.

  • And I wanted to give each of the two

  • the ability to create, or to control

  • the same sense or ability that they're lacking

  • for the other person.

  • So if you're visually impaired,

  • you'll be creating visual effects for the other person.

  • And then if you're hearing impaired

  • you'll create sound experience for the other person.

  • - Amazing, that's beautiful.

  • Have you done user testing of this

  • with people with different abilities?

  • - So, in our department we have one student

  • who is blind, so I have input from him

  • and from various classmates as well as

  • the people who have been visiting our show

  • for the last two days.

  • - Awesome, great job.

  • - Thank you, Dan.

  • - Okay.

  • Let's move this way.

  • We've got a crowd going now.

  • Alright, let's go check the peace bomb,

  • since we had a request.

  • And then we're going to head downstairs

  • and then we'll be done.

  • I think this is the peace bomb, but she's not here.

  • We'll come back.

  • Hello, you want to tell us real quick

  • about your project?

  • So say your name and where you're from.

  • Sure, I'm Zara, I'm originally from Iran.

  • My project, it generates lyrics

  • Based on a 19th century Schubert lyrics.

  • - Can people find it online if they want

  • to go look at it right now?

  • - Yes.

  • - And the url is here, zarak, zarak5.github.io/project.

  • And this is using the ML5 TS library?

  • - Yes.

  • I'm using an LSTM model double trained on lyrics.

  • - And so what lyrics we just got right now are,

  • Cold and not willing, then I need violent,

  • my father, my father, er.

  • Those are some serious lyrics to get through, great job.

  • - Thank you.

  • - Okay, okay.

  • So would you like to tell us about your project?

  • - Can I refresh real fast?

  • - Yes.

  • So you want me to try it first?

  • Okay.

  • Not me.

  • - The trigger word is me, so...

  • - Oh, the trigger word is me, so it's perfect.

  • - And now it's growing.

  • - I hacked the system.

  • And then this,

  • - And now there's you, the fairest of them all.

  • - Alright, can you just tell us your name

  • and the name of your project?

  • - Yeah, it's Eve, and the name of this project is

  • the Narcissist Mirror.

  • So it's basically using speech recognition,

  • and when it detects the word me, or I am,

  • it's going to start drawing a photo from the webcam,

  • which is you, and so this is live,

  • so when you move it moves with you.

  • - Great job. - Thank you.

  • - Alright, let's check this out.

  • How are you?

  • Okay, so tell us our name and a couple sentences

  • about your project.

  • - My name is (clattering in background),

  • I'm a second year student in ITP program.

  • Our project is a project that Aza and I worked on it,

  • and it's called Painting as Kavinsky.

  • It will be a kind of interactive drawing experience

  • for the user.

  • I will ask the user to, do you want to just try?

  • - Yeah, sure.

  • - I will ask you to please grab the pen

  • and try to draw on the canvas, like yeah.

  • It shouldn't be on the, actually the surface,

  • maybe the air.

  • - Oh, the air.

  • - Yeah.

  • As you try to draw something using the webcam,

  • I will tracking your hands

  • and set on the position of your drawing.

  • It can look at the ten points of your movements,

  • and after that, I will send it all to

  • different algorithm based on machine learning.

  • I trained the model to translate your result,

  • your canvas to Kavinsky style.

  • That's why you, for example,

  • draw some line or shape.

  • You can see that they're kind of modern abstract forms,

  • they think that you're drawing.

  • But in real time it's exactly based on your movement.

  • - And is this using style transfer behind the scenes?

  • - Yeah, Bose.

  • - Bose and style transfer.

  • (chattering in background)

  • - Great job.

  • - Thank you.

  • - Okay, we're almost, we're heading downstairs.

  • Just checking this, this is still recording.

  • I'm always completely paranoid

  • that this is not working.

  • Let's just take a look at the Peace Bomb,

  • since she requested we come over here.

  • This is the Peace Bomb.

  • I don't know what to do, but we can see

  • that it's a project made in P5.

  • And maybe I need to click this peace bomb.

  • Light it up.

  • Warning. Uh oh!

  • I think the peace bomb is about to go off.

  • Counting down, there goes the peace bomb.

  • Ah, peace bomb.

  • It is the color scheme that I do like.

  • Here, do you want to switch out, we'll go downstairs,

  • I'll carry this.

  • - [Jenny] Oh, it's fine.

  • - Okay.

  • (chattering in background)

  • Alright, we are going to go downstairs,

  • and that's going to be the last area.

  • We'll head out through the stairs.

  • So there's, it's very likely that the stream

  • will go down, because the wifi's probably

  • not good in the stairwell, but we'll reconnect

  • when we get back.

  • Alright, let's try this.

  • I didn't mean to just like, jump in and interrupt.

  • (upbeat music)

  • - This is for your head.

  • - Yeah, your head's over here.

  • - Oh, it is here.

  • Oh, I can get both at the same time.

  • - Yeah, exactly.

  • - Oh my goodness, another one.

  • Jeez!

  • Okay, okay, great job.

  • This is called Live Pose Music.

  • And you can find out more at this url over here?

  • - Yeah, this url.

  • - This url, we'll put it in.

  • All the links are going to be in the video description.

  • - Thank you!

  • - Okay.

  • Alright, we're going this way.

  • Okay, oh my goodness.

  • - [Jenny] Oh, go for it.

  • - Okay.

  • Wish I could just sort of get to everybody's project,

  • but it's not...

  • - [Jenny] I don't know, it's like while in theory,

  • I guess we're still live in the stairwell.

  • - Yes, it's still going.

  • Last time I remember we got here

  • and it disconnected.

  • - [Jenny] There's, um...

  • - There's a paparazzi following us.

  • - [Jenny] The color's really messed up right now.

  • Someone insulted your act on X.

  • - It's an XS by the way.

  • - Excuse me, XS.

  • Probably shouldn't respond to me.

  • - Oh my goodness.

  • Alright, this is good, then we have an escape hatch

  • down here, so we're going to attempt to go out in the cold.

  • Because I love the projects that are facing the window.

  • - [Jenny] Yeah, absolutely.

  • - Although personally that would be a good place

  • to finish, so maybe we'll finish there.

  • - Oh, here we are.

  • Look at this!

  • We found a project.

  • We exited the door, and suddenly there's a project.

  • Alright, tell us your name and a few sentences

  • about your project.

  • Please tell.

  • - Hi, I'm Rebecca.

  • Fluto is a live size flute, and when you blow

  • into your phone, the balls in the flutes go up.

  • And...

  • - So, we don't have a phone right now to demonstrate,

  • can you demonstrate with yours?

  • - Oh yes, I can demonstrate.

  • - And while we're waiting for you to demonstrate,

  • I have to tell this story.

  • In 2001 I took a class at ITP called Physical Computing,

  • and I worked on a project with two other people,

  • Stefan and Jimmy, and we made a...

  • We didn't make a project nearly as beautiful as this,

  • or with any of the music functionality.

  • But we also tried to get balls to float via these fans.

  • So someone on the internet, resourceful people

  • on the internet, see if you can find any record

  • of this project actually existing.

  • - That's so funny, I really had no idea.

  • - I'll just try to think it up.

  • Okay, go ahead.

  • - So we're going to begin, and then we can click on

  • these tubes, and they light up as we click on them.

  • And then, if you talk into the microphone

  • really loudly, or you blow, then they go up.

  • And then after a few seconds they go back down again,

  • and they time out, and then you can try again.

  • - And this project is a collaboration,

  • there are four of you?

  • - Yes. Meicheng, and Yu-Hao, and Caleb.

  • - Awesome.

  • And so people who are watching right now could do this?

  • - Yes.

  • - So wait, so go to fluto.us, if you're watching this.

  • - On your phone.

  • - On your phone, and let's see if we can see some rise.

  • - It's live.

  • - Let's see what happens.

  • - [Jenny] There's going to be some lag.

  • - Yeah.

  • - Oh! Someone did it.

  • Someone's trying.

  • Ohhhh.

  • - I think it's just this half that's going.

  • - Oh yeah, this half is not working currently.

  • - It's like this project is that project to the tenth power.

  • Cool, great job.

  • Colors are beautiful.

  • - Thank you for the story.

  • - I'm just going to go this way,

  • we're going to just catch a few more projects downstairs.

  • Hey Inimo, I'm sorry, is this your project here?

  • Can you tell us your name, and tell us a little bit

  • about your project?

  • - Yeah sure, my name is Inimo.

  • This is a project I did originally with Sophia Flutzel.

  • We developed an AR and AI thermometer.

  • That give you a thing, but it is not here,

  • and you can't see it, you can't touch it.

  • But you can also play it.

  • So this is like a two person attempt to,

  • it's kind of interactive because the person there

  • is playing it and listening to the thermometer,

  • they'll be able to see the thermometer

  • and listen to the playing.

  • - So where should I go, should I go over there?

  • - Yeah.

  • There will be a sound, so...

  • - Yeah, here.

  • If you can stand there and hold it, it's kind

  • of a short cable attached to me.

  • So I do this?

  • But I can put this on and I'll be able to hear it.

  • Oh wow.

  • Or do I do this.

  • - So you will put right hand in between which,

  • right or left.

  • Left hand is...

  • (chattering in background)

  • - That's quite a bit of fun.

  • I kind of want to see what it looks like,

  • can you stand there real quick?

  • - Yeah, sure.

  • - I just want to see real quick.

  • So I can see this.

  • - So this antenna, it's the matrix, and this is the...

  • - Yeah, cool, awesome.

  • Great job.

  • - Hi.

  • - Can I try this?

  • - Yes.

  • - Can you tell us your name and a few sentences

  • about this project?

  • - My name's Nan.

  • This project's called Fight or Fall.

  • So I'd rather you touch it.

  • - Okay.

  • - So if you press it really hard.

  • - Lay on it.

  • - Yes, it's vibrating.

  • Sorry, I'm just too obsessed with the flippies.

  • It's very satisfying.

  • - What does it feel like?

  • - It feels like a buzzing.

  • It's a little bit sharp actually.

  • It's very soft when I go this.

  • Like it's very smooth and satisfying.

  • - Some people say it feels like a pet tail.

  • When they talk quietly, the vibration.

  • - Okay, now I get that.

  • - And somebody was trying to make a QR code out of it.

  • - Yeah.

  • - It's been interesting.

  • - Great job.

  • - Thank you.

  • - Hey, can I ask you about your project?

  • - Yeah, sure.

  • - Tell us your name and a few sentences

  • about what you made.

  • - Okay, my name's Addi, I'm a first year,

  • and I made a playful dance floor experience

  • that lets anyone make beats with their body.

  • So it's these nine tiles, which all trigger different

  • drum samples.

  • (drum sample)

  • And you can kind of dance around,

  • make a beat, and then also record to

  • this 32 step sequencer, so I put it in record mode.

  • (drum beats)

  • It's going to remember what I've put in,

  • and it quantizes it, and then you can kind of like,

  • make a little beat.

  • Some of the pads are more sensitive.

  • So yeah, that's most of it.

  • - Can I try it?

  • - Yeah, sure.

  • (beats continue)

  • - This one's stuck.

  • - Yeah.

  • Awesome, so that wasn't recording just then,

  • that was just doing the...

  • - At one point I turned off the record mode.

  • - Got it.

  • - But it's going to keep looping.

  • - And if you, could you imagine using this

  • as part of a performance, or do you think it's more

  • like for people to play with.

  • - I think it's more for people to play with,

  • an interactive piece, that kind of thing.

  • - A lot of fun.

  • - Yeah, I don't want people to take it too seriously

  • as like a precise tool, you come up,

  • you fool around a little, and no matter what you do,

  • it kind of ends up sounding musical,

  • because if you repeat anything it becomes music.

  • - Well it worked for me, because I'm not at all musical.

  • - Yeah, yeah, exactly. - Great job.

  • - Thank you.

  • - Whoa, is this your project?

  • - Yeah, it is my project.

  • - Oh my goodness, there's like,

  • this is a literal sand ocean.

  • Alright, tell us your name and a few sentences

  • about your project.

  • - I'm Billy Bennett, and this is the sand ocean,

  • as you said.

  • So I've basically suspended sand above a speaker

  • and the speaker vibrates the air which moves the sand

  • in interesting patterns and stuff.

  • And you can tilt the coffee filter

  • using Servos and Arduino.

  • Yeah, that's basically it.

  • - Let's come look at this.

  • (loud humming)

  • So this is a coffee filter, and there's sand in it.

  • (mic crackles)

  • We're seeing the actual camera there,

  • and Nicholas here is controlling the joystick, yes?

  • - You can see the sand kind of reacting to the music.

  • - And what's your, what are you thinking right now,

  • as you're doing this?

  • - It sounds great, and it's very,

  • now I'm an artist.

  • - How long, have you been here for like

  • the last hour and a half?

  • - Two hours and a half, yes.

  • I feel like at the beach, I'm finally at the beach.

  • - What's on the iPad?

  • (notes play)

  • - That is the animo tab that you can display

  • different notes will make it move more or less

  • depending on how it resonates.

  • Low notes move the sand to one side.

  • - That's amazing, wow.

  • It's interesting, he perfectly said, this is amazing.

  • I love all of the like kind of analog of this.

  • I almost feel like it's like an actual physical--

  • (notes drown Dan out)

  • - Thought the cello sounded appropriate.

  • - Great, music genre, so.

  • Okay, what is this amazing thing over here?

  • There's nobody at this project.

  • I don't know if I'm allowed to touch it,

  • what do you think?

  • Let me go that way.

  • You're live on the internet right now.

  • - Am I? - But I'm hiding you

  • right now, so you're okay.

  • - I can be fine with that.

  • - Is there, okay, this project,

  • oh, this is the Cheg Chao's project.

  • This is called MetaTime, the human daily struggle with time.

  • So I see a clock.

  • - See the chain.

  • - It's going backwards, and a chain.

  • Wow, this is very intense.

  • - Certainly how I feel about time.

  • - Touch things here, but.

  • - I do not know what's happening.

  • - Alright there's like weights down there,

  • that's amazing.

  • Ah, this is from Nine.

  • Were you at Nine?

  • Yeah, so you might know more than me.

  • Okay, alright, let's move around.

  • Can you tell us about your project?

  • - Oh, hi.

  • - Alright, tell us your name and a few sentences

  • about your project.

  • - Hi, my name's Effie.

  • And I'm showing my nine new interface

  • for music expression class project.

  • My music instrument is called the War Fan.

  • And that is a human body scale folding fan

  • that opens up in two directions.

  • I'm going to show you, this is one direction.

  • This is the other direction.

  • And then, the sensors attached to it,

  • there's accelerometer, and a contact mic.

  • It's picking up acoustic and synthesized,

  • it's picking up acoustic sounds and then

  • sending signals to the computer and then making

  • different sound effects.

  • - And you used this in a performance, yes?

  • - I did.

  • This is...

  • (chattering in background)

  • - And can people see the video of your performance online?

  • - I'm still adding them in.

  • - Still editing.

  • - But I'll post them to my website here.

  • - Awesome, great job.

  • - Yeah, nice to see you.

  • - Alright, hey.

  • - How's it going?

  • - Whoa, we've got some punch cards here,

  • what's going on?

  • - Oh yeah.

  • - Alright, tell us your name and a few sentences

  • about this project.

  • - Hey, I'm Andarik.

  • This is an old school computer that makes music

  • with punch cards.

  • - Wow.

  • - Pretty much.

  • It's a bit hard to demo it here with the speakers,

  • but you want to try it with headphones?

  • - Sure.

  • - Let me just try,

  • - No one will be able to hear.

  • Should we try it with the speakers, just for now.

  • - Yeah, we can try.

  • Let me just refresh the session for you.

  • You can put any card you want wherever you want.

  • Just one rule, the color has to be facing this way.

  • And I would start with the green one here.

  • - Okay, here we go.

  • - Ready?

  • The color facing that way.

  • - The one rule, and I already...

  • At the bottom or at the top?

  • - At the top, like this.

  • - And I would start here.

  • - There, I got it!

  • (music plays)

  • - So this is your rhythm section, your harmony section,

  • and your melody section.

  • You're composing a musical arrangement

  • with three components of music.

  • Rhythm, harmony, melody.

  • Depending which part you put in where,

  • you will hear different sounds.

  • And it's pretty hard to appreciate.

  • - I love the moment where it like snaps in

  • with the magnet, really nice choice of how to do that.

  • - Thank you, yeah.

  • It was very important to give the user some sort

  • of feedback that the part is in.

  • - Yeah.

  • What happens if I just fill it up with all the cards?

  • - Yeah, that's your composition, right?

  • - That's too much.

  • Uh oh.

  • Oh, cool.

  • Just tell us again, because I don't know

  • if we got it with the mic, what the three rows are.

  • - Yeah, so music has three building blocks,

  • rhythm, harmony, and melody.

  • So rhythm could be your drums.

  • Harmony is more the overall vacuum of sound,

  • and the melody is like the main instrument.

  • This applies to most orchestra music.

  • So the bottom row has a track for drums basically,

  • the middle row has tracks for harmony,

  • and the other for melody.

  • And you can make music with multiple cards,

  • that's the whole idea.

  • - Great job.

  • - Thank you very much.

  • - Tell us a little bit about, tell us your name

  • and a little bit about this project.

  • I'm kind of jumping right in,

  • we've been doing this for two hours

  • and fifteen minutes right now, so my brain is--

  • - We're in the same boat, yeah.

  • - Oh yeah, I can't, what am I--

  • I can't complain to you about this.

  • Alright, so tell us your name and a little bit

  • about this project.

  • - My name is Sevenia, and the project

  • is called Merry Go Sound.

  • So there's eight spindles that are spinning,

  • and there's a sensor here.

  • - I was like, what's this loud project over here?

  • Oh no, it's vacuuming.

  • Literally vacuuming.

  • Sorry, why don't you start over, cause I interrupted you.

  • - Okay, no worries.

  • There's eight spindles, and there are these discs,

  • which have a sort of pattern on them.

  • And each spindle is assigned a different sound.

  • So as you place the discs and try different combinations,

  • you can generate different melodies

  • and different patterns and rhythms.

  • - And so he's hearing the sound from that.

  • - He's hearing it, there's a pair of headphones.

  • It's too loud right here, like I get lost.

  • - Makes sense, you said, just people watching can't hear.

  • - There's another pair of headphones if you want to hear.

  • - Yeah, well I'm going to do this.

  • - You know I tried that yesterday, and it just didn't work.

  • I tried recording to my phone.

  • - We'll see.

  • So I can just take it off?

  • - Yeah, just take it off.

  • - It feels, cause it's moving,

  • it feels like I don't want to.

  • - It can just come right off.

  • - Yeah, and what are the lights showing me?

  • - When it's on.

  • So if you take them all off, it starts from scratch.

  • - Awesome, great job.

  • Here we go, we're going to finish up outside.

  • Okay, I'm not wearing, are you going to be okay?

  • - [Jenny] I'm fine.

  • Are you going to be okay?

  • - Yeah, I'm fine, I'm like, yeah, I'm good.

  • Alright, we're going to go outside,

  • we're going to finish up.

  • Those are going to be the last two things we're going

  • to look at.

  • We're outside here on Broadway.

  • Fresh air, it's actually not that cold.

  • - [Jenny] It kind of is.

  • - Oh my god, it's remarkably quiet out here.

  • It's kind of nice.

  • - [Jenny] It's very quiet out here.

  • - This is like the, it's so peaceful.

  • Okay, so this project here, there's nobody

  • here to explain this to me, oh yeah there is!

  • - Hello!

  • - Okay.

  • Can you tell us about your name and about your project?

  • - Hi, my name is Azalea.

  • - Wait, let's start over, because I messed that up.

  • - Alright.

  • - Hi, my name is Azalea.

  • - I'm Ahmathob, and this is Caricatron.

  • Caricatron is a robotic caricature artist.

  • It doesn't understand human faces very well,

  • so it tries its best, it's like, okay,

  • I see a nose here and a little mouth.

  • And yeah, so we can have a look at Caricatron,

  • it'll just take your photo and draw

  • a very poor portrait of you.

  • - And have you guys been standing out here

  • since four o'clock?

  • - Yeah, more or less.

  • Maybe a little earlier.

  • - This feels really refreshing to me.

  • - Wow, I just realized you don't have a coat.

  • - I know, cause I've been inside.

  • I guess because there's nobody here.

  • - No, unfortunately.

  • - Alright, we'll take a look at that.

  • We're going to, so I'll stand in front.

  • - Yeah, you just stand in front.

  • - [Jenny] It's hard to see with the reflections, actually.

  • - I think it's much better from this angle.

  • - And you built this entire contraption, yes?

  • - Yep.

  • Yeah, um.

  • - What's, like, how are you getting this

  • kind of like 2D control, what do you need

  • to make that happen?

  • - Yeah, we're using CNT Pentclocker actually,

  • it's called the Axidraw, from the robot scientist guy.

  • - So that's an Axidraw, but this is actually expanding

  • its space.

  • - Exactly, so the Axidraw can draw for that assigned space.

  • And it's just the entire metallic looking,

  • it's actually just pulled for.

  • Thing just extends the range by two and a half lines.

  • - And have you said this to Evil Mad Scientist,

  • have they seen it?

  • - They have been very helpful.

  • And the way it's drawing actually,

  • is just like a deodorant roller

  • on a touchscreen tablet.

  • So it's just...

  • - Maybe we'll need to see this.

  • This is a deodorant roller.

  • Like, from an actual deodorant.

  • - From an actual deodorant.

  • - And that works on a capacitive touchscreen?

  • - It's a resistance touch screen.

  • - It's a resistance, so you just need pressure.

  • - Exactly.

  • - Amazing.

  • That's amazing.

  • - [Jenny] Yeah, you can sort of see that a little bit.

  • That's amazing.

  • Awesome, thank you.

  • - Okay, should we, let's take a look at this.

  • This is it, by the way.

  • Alright.

  • Oh, I'm getting Breaking News.

  • Russian Hackers released new codes.

  • The White House denies the security breach.

  • Protests of nuclear weapons scheduled

  • around the country.

  • Uh oh, I see a Pinocchio nose.

  • This is amazing.

  • - [Jenny] Oh, the reflection is.

  • - So who made this project?

  • - This was Hao, not here, and a team.

  • - Both these are from the...

  • (engines in background)

  • - Is it a lot of, the fact that you installed

  • it at once, did that make it kind of easy

  • to install here, or no, did it become

  • its own sort of thing?

  • - I think it was slightly easier.

  • A lot of the stuff we kind of made

  • so it was modular so that we could take it out

  • and then put it back somewhere else.

  • I think because people were wanting to show

  • at this show as well, so I guess they thought ahead.

  • - Alright, so I'm going to wrap up out here, right,

  • cause we're outside, it's a beautiful night.

  • - [Jenny] I'll walk around so you can see the building.

  • - So thank you everybody for tuning in to this livestream,

  • I don't have anything meaningful to say at the end.

  • Okay, so let's see.

  • If you want to know more about the projects,

  • you should be able to go to itp.nyu.edu/show,

  • and that will give you a big list of all the projects.

  • If you want to learn more about the programs here,

  • just search for Tisch, that's T-I-S-C-H School

  • of the Arts.

  • The two programs are ITP and IMA.

  • ITP again, it has its 40th anniversary

  • coming up this fall, IMA has its

  • 3 month anniversary like tomorrow or something.

  • This is the first year of the undergraduate program here.

  • So this video, as soon as we shut this down,

  • this will get archived so you can go back

  • and watch the whole thing at some point

  • in the next couple days.

  • Matua and I will get links to all the projects

  • in the video's description, they won't be there immediately,

  • we'll also probably make an edited version,

  • just like a highlight reel of a bunch of projects,

  • so you can stay tuned for that.

  • And in theory, the audio I think has probably been

  • mostly okay, well who knows.

  • We might try to re-upload this entire livestream,

  • but just with the audio from this microphone.

  • This microphone is not actually doing anything right now,

  • dubbed over.

  • Oh, and everybody who's watching this right now,

  • can you please put like some clapping emojis

  • or smiley faces for Jenny, who's been holding this camera

  • the entire time, it's a heroic effort.

  • I think this was our best, our most technically working

  • livestream, right, audio, at least,

  • I can't see the comments, so maybe that's not the case.

  • But at least people can hear.

  • Last year nobody could hear, so that's good.

  • Anything else, any important questions

  • you've seen come through?

  • Alright, I'm sorry.

  • - [Jenny] Oh, isn't it cold out here?

  • - It is cold.

  • It's about, actually, it is...

  • (bus goes by)

  • It is 44 degrees, according to the temperature

  • that my watch is telling me.

  • It feels colder.

  • That's the, I don't know what bus that is,

  • I was going to say, there's a bus going by.

  • This is going to be like so fun,

  • to just like hop on a bus and keep streaming.

  • We're not going to do that.

  • (Jenny laughs)

  • But now we have like, this is sort of like a thing.

  • Okay, I think you might have to press the stop button.

  • I mean I can come around.

  • We're stopping now.

  • - [Jenny] This one?

  • - Yes, that turns, that shuts it off.

  • Yes, end.

- Oh, I think I'm live. - [Jenny] It's--

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