PHD Portfolio

Technology is now in a place where unsophisticated computer users can alter their home environments for peripheral interaction. I have arranged my home for peripheral interactions to reprogram my subconscious as I go about my daily activities. Text and audio of my notes, transcribed dreams, and hypnotic scripts are interacted with while I am eating, clipping my nails, watching TV, reading on my computer, writing on my computer, and washing my hands. Interacting peripherally keeps me aware of ideas as I go about activities previously completed on autopilot. This paper presents my practice of self-hypnosis through peripheral interaction.

The chin interface is a wearable device that allows for peripheral interaction during everyday activities. Simple sensors and software use steady and unsteady movement data generated from everyday activities like eating, exercising, practicing guitar, or using the computer to interact with peripheral screens directed through the chin. One, two, and three button iterations of the chin interface require

different levels of attention for distinct peripheral interaction experiences.

Different experiences with peripheral screens can include playing back text one word at a time, slowly coloring in the letters of large words, or patiently typing out statements by selecting keys on an onscreen keyboard.

The Carry-on for Consciousness is a hard shell wheeled carry-on luggage bag with embedded electronics to allow for embodied travel writing during the most mundane aspects of a flying vacation. A traveler can wheel the carry-on around the airport and look down at the luggage to see eight motorized faders moving left and right toggling through each letter of the alphabet. The faders’ movements are powered by sensors mounted on the glasses, chin, wrist, and ankle of the traveler. As the traveler blinks, chews gum, swings their arm by their belt in a natural motion, or walks and moves their

ankle past their opposite ankle the accompanying faders will move. The traveler can type an up to eight letter word as an intentionality or goal statement to help them remain centered at the airport and reflect on their journey once they return from their destination.

Chronicled the growth of my creative practice to my current pursuit of constant writing. One example is pictured above, the Constant Notetaker, a way to write on the Apple Watch while not wearing it on your wrist. Instead, the Apple Watch is mounted on a 3D printed stand that is held in place against the palm of your writing hand with your writing pinky and ring fingers. This allows you to handwrite using a stylus without having to lay your wrist or forearm on a flat surface. You can instead gesture freely as you are writing allowing for more expressive thinking and communicating by incorporating gestures.  

  This paper explores the concept of instrumental dialogue, where musicians use their practice time for self-communication through musical instruments. As they play, a musician can type out messages through their instrument to reflect on while influencing their performance of a song. This practice involves software-assisted text input methods, such as controlling a cursor over an onscreen keyboard and slow Morse code, paired with various instruments like electric drum set, electric guitar, and bass drum pedals in a one-man band style setup. The paper details the evolution of my novel text-input methods from 14-drum-pedal setups to multiple onscreen keyboard interaction methods to Morse code integration. The practice aims to enhance creativity and focus, allowing musicians to hold onto positive thoughts longer and enrich their practice, musical expression, and self-knowledge. The exploration concludes with a discussion of the potential of embodied Braille, the current work in progress iteration of instrumental dialogue.

 In recent years, reading has expanded to include digital text alongside traditional print. Despite the interactivity digital text offers, new methods to enhance reader experience and engagement remain underutilized. The Embodied Saccadic Reader introduces an innovative approach by engaging both the body and mind. Readers pedal their arms and legs while focusing on a monitor displaying 3-4 words of text at a time. Four distinct texts are accessible via four pedaling patterns, each linked to a color. Text slides progress based on the pedaling speed, and dynamic shapes surrounding the text window visually correspond to the reader's progress in each section. This method allows readers to navigate texts non-linearly, fostering unique connections and deeper engagement with notes, research, or literature. By integrating physical activity with reading, the Embodied Saccadic Reader offers a novel, immersive experience that enhances interaction with text. 

I am currently developing another coordinated/synchronized interaction technique similar to my CHI Interactivity submission. But instead of reading, this setup is for playing back music. Walking in place on a treadmill and syncing steps with pedaling patterns on hose reels unlocks different parts of the song. For example, a user could pair the left arm and right foot and left foot and right arm together to unlock the intro portion of the song. Another combination would then play back the verse, chorus, outro, etc. This gives the user a stake in the arrangement of the song and can lead to a novel music experience. All music is played back on midi scores.

Currently, I am developing a new system of embodied text-input using interoceptive awareness techniques. I have shifted from toggling through an onscreen keyboard to using morse code. This drastically reduces the amount of time spent typing out my thoughts. To type out the morse code I must bring my breath, blinks, and heartrate into coherence. I am experimenting with blinking between heartbeats to be a “dot” and blinking on heartbeats to be a “dash” while inhaling. While exhaling, blinking between heartbeats is a space and blinking on heartbeats is a backslash, two keys I need to separate morse characters and words for the translation software I am using.

 Another method of embodied text input I am developing now I am calling embodied Braille. Braille is a writing system that uses dots in six cells to represent letters, numbers, and other symbols. Most people identify Braille with raised bumps on a surface to enable those with visual impairments to read. I learned to read Braille visually in only a few days by using the app Braille Academy. I am re-envisioning Braille as 3D Morse code, a way to transmit text-input data with one stroke per key through memorizing the different combinations of the six cell Braille grid applied to the body (see figure  above). For my early experiments, I am using my electronic drum set and wearing an electronic hi-hat pedal under each arm. The hi-hat pedals under each arm are the top two cells in the Braille grid. The drum sticks in each hand hitting the snare and floor tom are the middle two cells in the Braille grid. The feet on the hi-hat pedal and bass drum pedal are the bottom two cells in the Braille grid. This setup allows for the coordinated embodied expression of language through rhythm and might lead to an even more potent reflective dialogue with the self.