Experience in the city is followed by emotions of its users, many times imposed by architecture and built environment istelf but conducting your love life or expressing your innermost feelings through an architectural medium within the city, is a challenging endeavor. Emotions are difficult to map since they are not something measurable. However, some artists and architects have experimenting finding ways to collect data about people's emotions and present them in a public way in the city.
(source:http://biomapping.net/)
D-tower is an art piece, commissioned by the city of Doetinchem in the Netherlands, that maps the emotions of the inhabitants of Doetinchem. D-tower records HAPPINESS, LOVE, FEAR and HATE daily using different questions. The D-Tower is a project where the intensive (feelings, qualia) and the extensive (space, quantities) start exchanging roles, where human action, color, money, value, feelings all become networked entities. The panels are insulated with milled styrofoam then covered with epoxy. It is a permanent public art work with its own website.NOX’s tower looks zoomorphic, a little like a pony’s legs. Its website (www.d-toren.nl), which being handwritten has an air of intimacy about it, maps the emotions of Doetinchem’s inhabitants in response to a questionnaire created by artist QS Serafijn.The tower then abstracts the emotions of these answers to the questions through its use of colour,transmitting ‘the State of the Town’ each evening, assuming the colour of the most intensely felt emotion. After running for a month, the architects concluded that it had been often blue
(for happiness) or red (for love) and sometimes green (for hate), but NOX’s Lars Spuybroek reports that it has not yet been yellow (for fear). Every six months, a different group of 50 of the city’s inhabitants will complete further editions of the questionnaire. Questions become more and more precise, and the answers are then translated into the form of different ‘landscapes’ shown on the website. Spuybroek explains that in the process, all the ins and outs of their emotional lives are made visible, including ongoing discussions about hot issues. ‘D-tower is a coherent hybrid of different media, where architecture is part of a larger interactive system of relationships,’ says Spuybroek.
The world of the game becomes darker and more twisted as players exhibit more stress — and when they calm down, the game does, too. With the help of optional sensors like Garmin heart rate monitors, Apple Watch, and the Tobi EyeX controller, Nevermind responds to biofeedback like heart rate and eye movements. Now, the latest updates expand the game's capabilities by incorporating emotion recognition software Affdex, which uses data from players' webcams to track their response to emotional distress and further alter what happens on screen.
BioMapping
In Christian Nold's BioMapping, participants went out for a walk in their neighborhood. They wore a specially crafted device that measured their ‘galvanic skin response’, an indicator of emotional arousal, and a GPS device that logged their movements. Upon their return, an ‘emotional map’ was compiled with three-dimensional spikes at points were people felt aroused (like busy junctions). The unique methodology of this project involves working with groups of people to interpret and analyse the data and adding annotating onto these individual emotion tracks. Through this process communal Emotion Maps of lots of people's emotion data are constructed which are packed full of personal observations and highlight the issues that people feel strongly about.(source:http://biomapping.net/)
D-Tower, NOX
Doetinchem, The Netherlands, 1998-2004
D-tower is an art piece, commissioned by the city of Doetinchem in the Netherlands, that maps the emotions of the inhabitants of Doetinchem. D-tower records HAPPINESS, LOVE, FEAR and HATE daily using different questions. The D-Tower is a project where the intensive (feelings, qualia) and the extensive (space, quantities) start exchanging roles, where human action, color, money, value, feelings all become networked entities. The panels are insulated with milled styrofoam then covered with epoxy. It is a permanent public art work with its own website.NOX’s tower looks zoomorphic, a little like a pony’s legs. Its website (www.d-toren.nl), which being handwritten has an air of intimacy about it, maps the emotions of Doetinchem’s inhabitants in response to a questionnaire created by artist QS Serafijn.The tower then abstracts the emotions of these answers to the questions through its use of colour,transmitting ‘the State of the Town’ each evening, assuming the colour of the most intensely felt emotion. After running for a month, the architects concluded that it had been often blue
(for happiness) or red (for love) and sometimes green (for hate), but NOX’s Lars Spuybroek reports that it has not yet been yellow (for fear). Every six months, a different group of 50 of the city’s inhabitants will complete further editions of the questionnaire. Questions become more and more precise, and the answers are then translated into the form of different ‘landscapes’ shown on the website. Spuybroek explains that in the process, all the ins and outs of their emotional lives are made visible, including ongoing discussions about hot issues. ‘D-tower is a coherent hybrid of different media, where architecture is part of a larger interactive system of relationships,’ says Spuybroek.
(source:Architectural Design, 4d space:Interactive Architecture, Vol 75 January/February 2005, Wiley)
Mapping Invisibility
Mapping Invisibility is a cartographic exploration of the ‘illegal’ immigrants experience of the city. The aim of the mapping was to engage with strategies of hiding in the public spaces of Amsterdam. The results were presented at Frascati theatre on the 20th of May 2015 for the programme Out of State. In the workshop (which took place a week prior to the presentation) a number of illegal immigrants (experts in living invisibly in the city) guided participants to places in the city with an emotion in mind (a total of four emotions were mapped). Prior to the fieldwork a legend was generated by the participants, consisting of emotions that they thought undocumented citizens experience in the city. While walking/ mapping the participant could evaluate preconceived ideas (to what extent the chosen words matched reality or not) in the dialogue with the undocumented. Changing from one emotion to another happened at a fixed time and for all cartographers simultaneously, until all the words of the legend were mapped. The guests rediscovered the diverse meaning and associations of public places and were introduces to strategies of hiding, such as avoiding to walk with a bag, pretending to be waiting for a train, etc.
A web applications traced the cartographers footsteps while recording the dialogue. The longer they stayed on a certain location the thicker the line on the digital map would become, this way communicating the importance of a place in relation to an emotion and visualizing the diverse way of responding to a similar emotion (one might prefer to be stationed somewhere when it comes to a certain emotion, while another might prefer to walk). The conversation can be followed by downloading the audiotrack on this website: http://performativemapping.net/outofstate. The tracks can only be heard by being present on the exact same location and by walking the same track.
The map of emotional journeys are the result of the walked emotions. As long as the host and guest walked, a line was shown. The longer they stayed on a certain location the thicker the line became, until it turned into a dot. This way of drawing with time is a way to visualize the different responses of the stateless to a similar emotion (one might prefer to be stationed somewhere when it comes to a certain emotion, while another might prefer to walk).
The photo archive shows places, traces, materials, objects and behaviours that have to do with hiding/ sheltering from reality. The pictures were taken while walking.
The audio map consists of different tracks of stories related to ‘living invisibly’. During the mapping practice the conversation with the undocumented was recorded. The story is an mp3 that ‘visitors’ can listen to with a mobile phone and headphones by being on the same location and downloading the track. Only through being physically present on the location or following the same walked route, the story is revealed. If the visitor deviates from the place or the route (range of 20 m) the audio fades out. This way of aligning with the undocumented to reveal the story behind places or objects in the city, plays with a tension between hiding and making public which is a daily recurrent theme for the undocumented.
A web applications traced the cartographers footsteps while recording the dialogue. The longer they stayed on a certain location the thicker the line on the digital map would become, this way communicating the importance of a place in relation to an emotion and visualizing the diverse way of responding to a similar emotion (one might prefer to be stationed somewhere when it comes to a certain emotion, while another might prefer to walk). The conversation can be followed by downloading the audiotrack on this website: http://performativemapping.net/outofstate. The tracks can only be heard by being present on the exact same location and by walking the same track.
The map of emotional journeys are the result of the walked emotions. As long as the host and guest walked, a line was shown. The longer they stayed on a certain location the thicker the line became, until it turned into a dot. This way of drawing with time is a way to visualize the different responses of the stateless to a similar emotion (one might prefer to be stationed somewhere when it comes to a certain emotion, while another might prefer to walk).
The photo archive shows places, traces, materials, objects and behaviours that have to do with hiding/ sheltering from reality. The pictures were taken while walking.
The audio map consists of different tracks of stories related to ‘living invisibly’. During the mapping practice the conversation with the undocumented was recorded. The story is an mp3 that ‘visitors’ can listen to with a mobile phone and headphones by being on the same location and downloading the track. Only through being physically present on the location or following the same walked route, the story is revealed. If the visitor deviates from the place or the route (range of 20 m) the audio fades out. This way of aligning with the undocumented to reveal the story behind places or objects in the city, plays with a tension between hiding and making public which is a daily recurrent theme for the undocumented.
(source: http://tr-aders.eu/mapping-invisibility/)
Nevermind
Interesting examples can also come from the world of video games where artificial intelligence is implemented to enable the machine to adjust each online platform according to the users' preferences. But how much emotional intelligence is inside computers, cell phones, and video game consoles? In the past, the answer has been "none" — even the most complex deep learning machine is still a machine. Nevermind is a video game that can sense players' emotions and adjust experience to fit.The psychological thriller, which debuted last year, isn't the average first-person shooter game. Instead of being given a gun and told to kill enemies, players inhabit the persona of a Neuroprober, a physician who can enter the minds of trauma victims. As they explore the troubled psyches, Neuroprobers must solve logic puzzles and recover memory fragments to help their patients get better.The world of the game becomes darker and more twisted as players exhibit more stress — and when they calm down, the game does, too. With the help of optional sensors like Garmin heart rate monitors, Apple Watch, and the Tobi EyeX controller, Nevermind responds to biofeedback like heart rate and eye movements. Now, the latest updates expand the game's capabilities by incorporating emotion recognition software Affdex, which uses data from players' webcams to track their response to emotional distress and further alter what happens on screen.
(source:http://theweek.com/articles/616903/innovative-video-game-sense-emotions-respond-accordingly)
Emoti
During an Art Hackathon, Emoti was developed, in order to show the emotional state of the world through combined visual colours and audio resulting in a beutiful chaotic representation of the emotional state of the world-or at least the twitterverse. Using Twitter widgets, the team was able to pull certain keywords from tweets being posted in real time and assign them to different emotion types, which meant being able to have constantly updated data on how people were feeling on twitter through these emotion-related keywords. The emotions they assigned them to were: Happy, Sad, Surprised, Afraid and Angry.
From this data they then created a simple HTML web-page with 5 divs, or blocks, of colour relating to the different emotion states. These would constantly change width depending on the data that was being collected from the tweets to give a visual representation of how many people were tweeting under each emotion:
Green = Happy
Blue = Sad
Yellow = Surprised
Pink = Afraid
Red = Angry
To make this experience of witnessing how the world feels and how frequently these emotions change more immersive, these visual representations are also accompanied with audio.
From this data they then created a simple HTML web-page with 5 divs, or blocks, of colour relating to the different emotion states. These would constantly change width depending on the data that was being collected from the tweets to give a visual representation of how many people were tweeting under each emotion:
Green = Happy
Blue = Sad
Yellow = Surprised
Pink = Afraid
Red = Angry
To make this experience of witnessing how the world feels and how frequently these emotions change more immersive, these visual representations are also accompanied with audio.
(source:https://www.raspberrypi.org/blog/emoti-visualising-our-emotions/)
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