The document outlines the design process for an interactive system for the STRP Festival to facilitate communication between individual and group visitors. It provides background information on the STRP Festival and past projects, describes research conducted including analyzing a UK film festival budget, and details the initial concepts developed for the interactive system including using NFC technology.

1. STRP is SOCIAL
DPE34 Co-Creating a Festival
Coach: Sander Mulder
Student: Zhiyuan Zheng
s088060 B3.2

3. Table of Content
Introduction 01 29 STRP is SOCIAL
Design Brief .a 01 29 a. Concept
Design Problem .b 01 31 b. Scenario
STRP 02 37 c. Prototype
The festival .a 02 40 Conclusion & Suggestions
eSphere .b 03 41 Reference
NFC & RFID .c 04 42 Appendix
Researches 05 42 a. Coding
UK Film Festival Example .a 05 48 b. Workshop Feedback
Brainport .b 09 49 c. Play Van Abbe Notes
Group Behaviour .c 10 50 d. Mid-term Photos
Dialogue .d 11
Workshop .e 12
Museum Visit .f 14
Directions 16
Client meeting feedback 18
Mid-term exhibition 19
Set-up .a 19
Concepts .b 20
Feedback .c 24
Expert feedback .d 24
Concept Development 25
Target User Group .a 25
Design Qualities .b 25
Communication Model .c 26
Functions List .d 27
A

5. Introduction
For the edition 2011 of the STRP Festival, where on their action in the system, instead of the the RFID technology and other related techs.
the art and technology meet the organization content. The system aims at adding extra value This year, they are planning to employ the NFC
is looking for innovative solutions to enhance to the current festival visiting experience, and technology into a potential interactive system.
visiting experience as well as increase the total bringing potential interesting individuals into
amount of visitors. In the year 2010, the STRP the groups. Design Problem
Festival transformed one of the previous stu-
dent projects, implemented and tested in the Design Brief The problem of the current STRP Festival is the
field. The result is not encouraging; therefore, lack of foreign culture integration. To make it
a better user-engaged experience is required. Nowadays, most of the festivals are facing the specific, there are relatively few foreign expats
The client of the project is the STRP Festival, same problem that whether the visitors enjoy participating in the festival and therefore ac-
of which CeesJan Mol acts as a representative. the experience of visiting or not in a limited tions are needed to change the situation. This
The coach is Sander Mulder, and the expert is amount of time and area. Festivals are looking project aims at solving the problem by adding
Oscar Tomico from faculty Industrial Design of for more opportunities to differentiate them- extra values the group visiting to the festival.
Eindhoven University of Technology. There are selves from others. This requires innovative
three students in total working on this project, and creative solutions to be implemented in
and all of them are in their final year, which the field. The co-creation framework proposed
is B3.2 to be specific. This report describes the by C.K. Prahalad could be a good approach to
process and outcome of one of the students, merge e.g. virtual and physical visitors to create
Zhiyuan Zheng. more dimensions for the festival.
The final design is an interactive system that Take the STRP Festival as an example. It is
facilitates the communication between individ- a fun festival in the Eindhoven region in the
ual and group visitors. The visitors can use a Netherlands, which aims at fusing music, art
point of interaction to post and comment when and technology and dares to try out cutting-
they want to express their thoughts or ask a edge technologies. In the year 2010, the STRP
question. The connections will be made based Festival realized the concept of eSphere by use
01

6. STRP
The Festival The STRP Festival intends to “technologize,”
that is, use technology to make the festival re-
STRP is an abbreviation of Strijp, which is the ally come alive and promote the development
name of the former industrial area of electron- of technology and technology-minded compa-
ics giant Philips. In the past century, Philips nies in the region (2). In the years 2006 and
has developed and innovated dozens of prod- 2007, the emphasis was on interactive and
ucts in that area, including the very first Philips playful systems, while in 2009, it changed to
bulb. Strijp was grew by Philips estate to be an more meaningful art objects. Last year 2010,
industrial city with its own infrastructure, of- STRP tried to find a balance between playful
ten referred to as the Forbidden City, because and meaningful, whose identity is a fun fes-
tival. In its fifth edition, STRP 2011 will high- Figure 1. STRP logo (strp.nl)
there was strict entrance policy in order to pro-
tect the innovations (1). Nowadays, the Strijp light the technology art made by Dutch artists,
area is turned into an innovation zone where which put more emphasis on its “technology”
creative people and companies gather and en- side, in order to attract more technology-mind-
vision for the future. This area is no longer as ed visitors. The Netherlands Ministry of Educa-
restricted as before; rather, it welcomes all the tion, Culture and Science is providing a con-
people to participate in the events of creation. siderable Culture Innovation subsidy to fund a
After Philips left the Strijp area, the buildings project that will contribute to fulfilling the first
were emptied and needed to find a new pur- priority, namely to use technology to boost the
pose of them. The municipality of Eindhoven festival experience. This project will focus on
decided to turn it into ‘The Creative City’. The the second priority, namely to involve in more
artists and designers in Strijp tend to fuse art of the technology-minded companies and peo-
and technology to design the inexistences. This ple in the region into this cultural event (2).
is a good reason to hold the STRP Festival, of
which has the aim to merge the stunning art
and the cutting-edge technologies.
02

7. eSphere
In the expo of STRP, every work will have a launched a mobile website especially for eS-
touch screen. Use the chip, dash in, and then phere one week before the festival started in
give his /her feedback in key words. What the 2010. The users can view the programs, find
user thinks will become visible to others, e.g. out where their friends are, see what others are
in the artwork’s tag cloud. Every user will also doing, and use the mobile phone as the “dash”
receive a budget of 25 ‘dashes’, coins can be display. In this way, users are more engaged
used to express how much the user values an into the system that they can access their pro-
art work or an event. Once the user dashes in, files and the whole festival at anywhere at any
he or she also gets the opportunity to assign time.
his or her coins as he or she likes. If the user
changes his or her mind, he or she can redis- According to the statistics from STRP, the fes-
Figure 2. eSphere logo (esphere.nl)
tribute the coins at any moment by using one tival attracted almost 30,000 people in year
of the public touch screens. Dashing in there, 2010. Among the visitors, over 4,000 of them
the user can make any modifications to his or signed up to join the eSphere; this is around
her own profile combine with the coins that he 13.33% of all. Visitors entered an enormous of
or she assigns during visiting the festival (3). 13,281 key words or tags during the festival, in-
cluding “magic”, “cool”, “relaxation” and “spa-
Besides the physical hubs during the festival, ghetti”. On average, every visitor that joined the
there is also a website specially designed for eSphere system entered 3.32 key words or tags
managing all the dashes and comments after during the festival. This is not a highly user-
visiting the festival. On the website, the users involved system yet according to the statistic,
can also follow their friends, or link their pro- and therefore needs improvements in the fu- Figure 3. eSphere tag cloud example (esphere.nl)
files to the Facebook or Twitter accounts, so ture settings.
that when they dash in during the festival, the
system will push updates to the social media
automatically. Finally yet importantly, STRP
03

8. NFC & RFID
Near Field Communication (NFC) is an inter- connectivity of NFC to make connecting two existing passive RFID infrastructures.
face and protocol used by inductive coupled objects (including human being and things) When comparing NFC and RFID, they are
devices operating at the centre frequency of easier. According to the NFC Forum, which mostly based on the same technology that the
13.56 MHz for interconnection of computer is an organization to “advance the use of Near RF field can power a passive target for transfer-
peripherals. There is always an initiator and a Field Communication technology by devel- ring information. However, the NFC technology
receiver in a pair, that the initiator omits radio oping specifications and ensuring interoper- focuses on the communication as indicated in
frequency (RF) field that can power a passive ability” (5), there are four standards of NFC its name, and RFID serves on the identification
target. Those tags can be as small as such tags, available. Three of them are cheap and easy to process. In this way, their field of application
stickers and part of a poster that do not have a implement while have a small amount of data is limited according to their main functionality.
battery inside. When two devices, initiator to be transferring capability. These standards are the Whether NFC would fit in the festival experi-
specific, are powered, they can exchange infor- most common seen in the consumer market, ence will be debated in the following chapters.
mation and communicate with each other as which offer the secure tag reading function.
well. The technology is mediated by magnetic Compared to the RFID technology, these three The director of STRP, Frens Frijns, confirmed
induction between two loop antennas located standards add a secure layer upon the tag- that the festival would like to use RFID technol-
within each other’s near field, effectively form- ging layer so that the tag cannot be copied or ogy to add an extra dimension: visitors would
ing an air-core transformer. It operates within changed unauthorized. The last one holds the truly be an active part of the event. They would
the globally available and unlicensed radio fre- most complicated standard and have the abil- be able to express their opinion, and they will
quency ISM band of 13.56 MHz (4). The work- ity to transfer larger amount of data with faster have the opportunity at home using their per-
ing distance of NFC technology is up to 20cm, speed. This requires both devices are initia- sonal page to see more of the art works that
and generally below 4cm. tors that they are powered to be more specific. captured their attention at the festival. In this
Based on this standard, there needs to have project, STRP recommends to use NFC tech-
With the help of NFC technology, there are al- another device to store the exchangeable data, nology to support the design.
ready many applications in the consumer mar- such as a mobile phone. With RFID technol-
ket such as mobile ticketing, mobile payment, ogy, it is not possible to exchange large amount
smart poster and Bluetooth pairing. All these of data. Still, its technical standard (ISO 18000-
implementations make use of the super-fast 3) expresses that NFC is compatible with
04

9. Research
This chapter describes the various research ac- UK Film Festival Example is 1,511 GBP, which is positive.
tivities carried out during the whole design pro- When looking into the details, there are two
cess. With the purpose of getting more inside A guide titled, how to set up a film festival in remarkable points. Firstly, the most common
into the business structure of a festival, an UK UK, demonstrates a full process of preparing income sources are the box office, the sponsor-
film festival example was analysed based on its for a typical film festival. It includes the process ships and the trusts or donations. The income
budget planning. The idea was also to seek for starts from establishing an organization, until of box office occurs mostly during the festival
opportunities in the area of business innova- the end with a successful close-up. The most is running or slightly before it, if there is no
tion, which was defined as an approach in the useful examples in the guide are five budgets additional event that trigger visitors to buy tick-
design brief given by the department. Other planning in its appendix, ranging from a small ets beforehand. The income of sponsorships
researches were carried out based on the ap- festival to a large one, which serve as part of and trusts happen mostly a bit before or after
proach that the festival intends to attract more my business study. The fourth example shows the festival. These is few chance that sponsor
foreign expats in the Eindhoven area. These a detailed budget planning for a medium-large would agree to invest long before a festival
technology-minded people are mostly far away simple international festival, which stands at starts. Secondly, as from the chart above, there
from cultural events, and therefore my projects the same level as STRP festival. The following are many tasks need to be finished which form
aims at finding a way to motivate them to join chart demonstrates the detailed cash flow of a the expenditure. There are five continuous ex-
the festival. Later on in the project, a workshop one-year cycle of a medium-large film festival penditures, such as the costs of the staffs and
was organized by the coach to put everybody’s in United Kingdom. the office, while most of the others are occa-
ideas out and seek for overlaps and gaps. In ad- sional. There are always expenditures every
dition, our theme had a visit to the Van Abbe- According to the source, the film festival takes month even when there is no income in some
museum in Eindhoven to experience and dis- place on October, which is the third quartile months.
cuss their new way of engaging visitors to the of the year. The organization starts preparing Therefore the charts suggests that, there are
exhibiting environment. All these elements are for the festival as from January of that year, eight months in a year with negative open-
grouped as researches and will be discussed in and ends at December. The total income over ing balance, and nine months in a year with
the following sections. the year is 71,200 GBP (Great Britain Pound), negative closing balance, which means, there
while the total expenditure is 69,689 GBP. should have other funding in order to operate
The final closing balance at the end of the year the festival, such as loan from a bank.
05

10. 1 2 3 4 5 6 7 8 9 10 11 12 Totals
Box office 35000 35000
bfi Grant 10000 10000
RAB Grant 22000 22000
Sponsorship 1 1200 1200
Sponsorship 2 200 200
Sponsorship 3 500 500
Sponsorship 4 2300 2300
Total Income 0 0 0 0 0 0 0 0 23400 35500 12300 0 71200
Staff 1620
Film rental 1620 1620 1620 1620 1620 1620 3900 4700 4700 1620 1620 27880
Travel & Subsistence 85 6000 6000 12000
Guests 85
Design & Print 1500 2500 4000
Advertising 15000 15000
Web Development 750 750 1500
Office rent 200 600 600
Utilities 200 200 200 200 200 200 200 200 200 200 200 2400
Phone 250 56 56 56 56 224
Stationary 15 250 250 250 1000
Photocopying 25 15 15 15 15 15 15 15 15 15 15 15 180
Recruitment 270 25 25 25 25 25 25 25 25 25 25 25 300
Legal 270 540
Insurance 700 700
Bank interest 25 500 500
Audit 45 65 85 250 270 310 370 220 40 0 0 1680
Postage 20 600 600
Total 251 20 20 20 20 20 150 150 20 20 20 20 500
Expenditure 0 1981 1945 17215 2186 2420 3070 6066 8130 13750 7936 2480 69689
06

11. 1 2 3 4 5 6 7 8 9 10 11 12 Totals
Cash Flow -2510 -1981 -1945 -17215 -2186 -2420 -3070 -6066 15270 21750 4364 -2480
Opening Balance 0 -2510 -4491 -6436 -23651 -25837 -28257 -31327 -37393 -22123 -373 3991
Closing Balance -2510 -4491 -6436 -23651 -25837 -28257 -31327 -37393 -22123 -373 3991 1511
Figure 4. UK Film Festival Cashflow Data. (From Ref. 6)
Figure 5. UK Film Festival Cashflow Graph
07

12. The graph on the right shows the closing bal-
ance throughout the year. It clearly shows that
the organization needs large amount of money
before the festival actually starts for its opera-
tion. This peak makes it difficult for an organi-
zation to run a festival. Although the closing
balance at the end of the year is positive, it is
not enough to fill in the peak for the next year.
I assume that the same problem exists also for
STRP as they do not have a strategy to pre-sale
the tickets. Therefore, STRP is also looking for
solutions to solve this problem. (confirmed by
the client in the first workshop)
Figure 6. UK Film Festival Cashflow Graph
08

13. Brainport The Eindhoven Region has transformed since forty per cent of Dutch investments in Research
the late 19th century from a mainly rural area and Development (9).In the larger region, the
The Eindhoven region has been renovated into to a strongly industrial one, and new technol- Noord-Brabant, there are 2,434,560 inhabit-
a competitive industrial area where mainly ru- ogy has long been its trademark. One of the ants as in the year of 2009. There are 196,982
ral area was in the late 19th century. One of its initial driving forces for this was Philips, now western immigrants among all the residents,
strength is the developing of new technologies one of the world’s biggest electronics compa- which takes 8.10%. In addition, there are an-
by an initiative of the electronics giant Philips. nies. The region’s reputation for high-tech ac- other 185,549 non-western immigrants take
The company has its own research and devel- tivities has attracted new companies to invest 7.6% of all (10). This means there are around
opment centre in the south part of Eindhoven, here, and former Philips concerns have grown 15.70% of all the citizens are foreigners, and
which brings many new possibilities to the into independent companies such as ASML in which consists of large amount of high-tech
world. By this high reputation for high-tech ac- and FEI. Eindhoven’s University of Technol- minded people. This project aims at attract-
tivities, many new companies are willing to in- ogy, founded in 1956, has also contributed to ing these people to visit the festival, STRP to
vest and settle in this region. Besides those in- this economic development. Because of its in- be more specific. The target user group will be
novating companies, there is also a university, ternational reputation for cutting-edge R&D, defined later in the report.
Eindhoven University of Technology, founded the Eindhoven Region has become known as
in 1956 and has just celebrated its 55th anniver- ‘Brainport’, a recognised hotspot within the
sary. The university also contributes lots of its Southeast Netherlands’ top technology zone,
intelligence to the developments of the science one of the top technology regions of Europe (7).
and technology, and brings up the economic
growth of the region. Because of all these mat- Eindhoven has approximately 728,133 inhab-
ters, the Eindhoven region has become known itants and is the fifth largest city in the Neth-
as the ‘Brainport’, “a recognised hotspot with- erlands (8). However, the economy of the
in the Southeast Netherlands’ top technology Eindhoven region is the second largest in the
zone, one of the top technology regions of Eu- Netherlands. The Eindhoven region is widely
rope” (7). regarded as one of the high tech hotspots in
Europe. This region accounts for as much as
09

14. Group Behaviour in group behaviour. Besides those individuals, the people in the
groups are aware of their existence as a mem-
According to Dutch news, Dutch people tend In the sociology domain, there are various ber, and walking around with other group
to form informal groups instead of formal ways of describing the social group. A defini- members to achieve a mutual goal, which is
groups. These informal groups mostly show tion was given by Erich H. Witte and James H. visiting the festival. There are around 8.10% of
their identity, which is a trend nowadays in Davis that, “a group is two or more individuals all the citizens in the Brabant region are non-
the knowledge society (11). Besides the native in face-to-face interaction, each aware of his or western immigrants according to the statistics
people, foreigners tend to stay inside their own her membership in the group, each aware of shown before. With such a large amount of
community since they share the same cultural the others who belongs to the group, and each population, it is possible to have various types
experience and background as discussed be- aware of their positive interdependence as they of people, and many interest groups or groups.
fore. In this way, the group is commonly seen strive to achieve mutual goals” (12). These are the people that this project is aiming
in nowadays society. As discussed in the previ- Another definition of ‘crowd’ given by S.R. at, which will be discussing in the following
ous chapter, the aim of this project is to attract Musse and D. Thalmann is that, “an accepted chapter.
more foreign expats to visit the STRP Festival definition of crowd is that of a large group of
in the coming year. From observations, feed- individuals in the same physical environment,
backs and own experiences, foreign people in a sharing a common goal (e.g. people going to
new environment tend to form small societies a rock show or a football match)” (13). The in-
to maintain their cultural existence. In these dividuals in a small group or when they are
small societies, several interest groups are alone, they may behave differently compare to
formed based on certain significances, such when in a crowd.
as photographer interest groups. These people As can be seen from the definitions, the visi-
are afraid to be separated from the group, espe- tors of STRP form a crowd since they are at
cially for Asian people. Therefore, it is wise to the Klokgebouw building in Strijp, and they
attract this kind of people in the form the group are participating in the same festival. However,
instead of individual. A research study was car- there are individuals and groups in the crowd
ried out to get more inside that behave according to their own intuition.
10

15. Dialogue same aim to achieve the same goal. In delibera- to authors’ senses. Therefore, a new term,
tion, two parties are working towards a same functional embedding, is introduced in the
Where there are people, there is communica- goal however want to keep his or her own ben- research. By adding a new dimension to the
tion/dialogue going on. To support the design efit. In information seeking dialogue, one par- dialogues, the research can conclude that, non-
process and the design decisions, a research ticipant prompts out information from the oth- collaborative dialogues can have sub-dialogues
was made to investigate the meaning of dia- er one, and they have the same goal to spread that belong to another instance, which means
logue between human beings. information. In the last type, eristic, each par- for instance in persuasion dialogue, it can be
ticipant wants to win with a group of dialogues, changed into information-seeking dialogue
According to C. Reed and D. Long’s theory, which can be seen as the ‘arguments’. and then conclude still with the persuasion.
argument is an essential part in agent-agent As can be seen from above, the definitions of
communication and in human dialogue (14). the six types of dialogue are still too abstract In the second half of the design process, this
Their researches in informal logic of the differ- to use in the design. After defining the dia- classification of dialogue will be used to define
entiations of human argumentation has made logues, the researchers continue with catego- the functionalities of the design, and the rules
possible to classify the dialogue system. They rizing them by using other terms, cooperation of engagement of the interaction.
debate that there are six types of dialogue hap- and collaboration. The research shows that, all
pening between human beings, based on the of the six dialogues are cooperative, while only
assortment of human argumentation. These the inquiry and the information-seeking dia-
six types are persuasion dialogue, negotiation, logue are collaborative. This means that, when
inquiry, deliberation, information-seeking dia- a dialogue is cooperative, the participants share
logue and eristic (14). In persuasion dialogue, the same goal and working towards it under
two parties start with conflict and work on to certain rules. It is possible that non-coopera-
resolve it; in the meantime each party wants to tive dialogue happens, when one of the partici-
change the belief of the other party while keeps pants changes from one dialogue to another, or
his or her own. In negotiation, two parties want change the set of rule using extra power. Never-
to make deal while maximize his or her own theless, it is abnormal that persuasion and ne-
benefit. In inquiry, the two parties have the gotiation can never be collaborative according
11

16. Workshop The collaboration space is also visible on this develop a new way of gathering the groups to-
pyramid, as all the parties have involved in the gether, especially the foreign expats mentioned
The workshop was organized by the coach on co-reflection process, creating overlaps and in the previous sections.
19th April of 2011. There were nine partici- gaps. My concept was chosen by the client for-
pants, including four students presenting with tunately, and he showed quite a lot of passion During the workshop, there are also useful
their own projects and concepts. The aim of in the direction that my concept was heading suggestions from other participants, which
the workshop was to align all the ideas from for. contribute a lot to the project. There will be an
the participants to check if there was any over- appendix including all the useful feedbacks to
lap for further cooperation. The process of the Compared to the previous workshop, there my concept.
workshop was carried out by the method of were more dimensions adding in to build up
co-reflection developed by O. Tomico from the a ‘pyramid’ festival experience. My approach
department. To name the workshop process in in paying attention to the existing groups and
short, every participant chooses one concept friends contributes to form one facet of the
from the concept-pool, and then presents the ‘pyramid’. The advantage of digging into the
ideas around that concept. After that, the ideas existing groups is that, the connections do exist
are reorganized and discussed by all the par- and therefore the social value of it rises. In the
ticipants and define interesting points. This current industrial society, the problem is that
approach leads to more understanding of the the frameworks built by some talents for peo-
design space and collaboration space. Because ple to easily perceive others; however, the peo-
in the second step, all the ideas are reorganized ple are actually being separated far away from
in the way that everybody agrees, and which is each other. These frameworks make use of that
visible on a 2D dimension. The result of the the people are actually contributing to the plat-
workshop confirms the approach that a pyra- forms. Moreover, by those actions, the frame-
mid was formed with one axis from pre-festival works analyse and send out recommendations
to post-festival, and the other axis from individ- based on their friends, which is similar to the
ual to group, for which direction I was leading viral marketing. Therefore, it is interesting to
12

17. Figure 7. Workshop photo (credit; Enitia Karijodinomo)
13

18. Museum Visit about the art works. On its way through the well selected that they are all at their extreme.
exhibition, there is also text-based informa- Therefore, when the visitors switch role, they
The client mentioned the new role-playing vis- tion available for the pilgrim. As a tourist, the might have doubled or tripled the exhibition
iting experience in the Van Abbemuseum dur- visitor will get a large map of whole exhibition experience because they can see the art works
ing the workshop. Our theme had a chance planning so that he or she can plan the route from very different points of view. Lastly, there
to visit the Van Abbemuseum for the experi- well before visiting. As a flaneur, the visitor is still not enough interaction with the art works
mental role-playing experience. The visiting will receive an earphone, which plays relax- since the visitors stand out too much from the
took around one hour and a half, after which ing sound tracks endlessly, and a notebook on original setting. They might enjoy and play well
a discussion was held among all the students, which he or she can take notes during visit- with each role, but this loses the connection to
coaches and the experience designer of the mu- ing. Besides those three roles, visitors can even the art works.
seum. choose to be a worker who plans the visiting
route by himself/herself. In addition, another Besides those personal reviews, there are also
The next paragraph explains the set-up of the role is the game master whose responsibility is many good ideas triggered by others during the
Play Van Abbe Part 4 experience in the Van to help the visitors with their questions and re- group discussion. The thoughts will be listed as
Abbemuseum. The experience design aims at ceive feedback as well. an appendix, and explain in the later chapter of
getting the visitors to the central role of appre- the connections to the design process.
ciating the art, instead of by the artists, the art- Those are the basic settings of the new mu-
work or the museum. The visitors are the main seum experience. After experiencing two roles,
characters of the experience and behave on pilgrim and flaneur, there were some com-
their own. There are four-selected role available ments pop-up in my mind. Firstly, each role is
for the visitors to choose. Three of them are a quite separated from one another, which means
pilgrim, a tourist and a flaneur. Visitors are giv- there is less communication possibilities when
en a random role at the entrance, but they are visitors have a certain role. It would be interest-
free to switch roles at the stations. As a pilgrim, ing to have cross-role communication so that
the visitor will get an audio guide from which different kind of people can share their knowl-
he or she can receive detailed information edge with others. Secondly, the three roles are
14

19. Figure 8. Play Van Abbe stand
Figure 9. Play Van Abbe gather corner Figure 10. Play Van Abbe stand
15

20. Directions
Based on the prior researches on the business design, I would like to make it into a two-way 2
model, Brainport region and the STRP Festi- communication platform, which the end user
val in general, three directions were defined on also provides feedback to the artist (artwork).
three levels of depth. Here explains the ration- In this platform, the information that is pro-
ales and the details of the three directions. vided to the end user is personalized based on
their feedback. The advantage is that, it brings
One to a higher level of communicating the artwork
with the visitors. They can benefit from it be-
The first level of direction is to design an in- cause of the personalized information, which
teractive system that facilitates the personal is easy to understand and memorable.
communication between the visitor and the
artist. In the existing systems, visitors can have Figure 11. Existing method of scenario
direct contact with the artwork either by seeing
or touching. Some systems also provide other
options for the visitors to get more insights of
the artwork, such as an audio guide explaining
the background information of the artwork.
The advantage of this kind of system is that the
technology is well developed and easy to imple-
ment. However, it standardizes all the informa-
tion, no matter at what level of the audience
is. Visitors have to digest the same amount of
information before they can understand the
thinking behind the artwork. Thus, this system
is a one-way communication platform, which Figure 12. Existing method of scenario
pushes information to the end user. In my
16

21. Two Three To conclude, the first direction can be imple-
mented to any festival, which is general in a
The second level of direction is to design a new The third level of direction is to design an in- sense. The idea came from the observations on
business model to avoid the negative cash flow teractive system that brings in the cross-cul- other festival such as Dutch Design Week and
peek before the festival starts. In the UK film tural integration. STRP positions itself to be Milan Design Week. The second direction adds
festival example in Figure 4 & 5 & 6, there is an international festival in Europe. There is no the business model innovation to the previous
an obvious negative cash flow peek around Au- statistics but from observation in year 2010, one, which is also a direction suggested in the
gust. Before that, the cash balance is mostly most of the visitors of the STRP Festival were design brief. The last direction is based on the
negative and keeps decreasing. The main cause local people. There is a need for STRP to do researches on the context of the festival that the
of this is that, the major incomes including the more to attract foreigners in the Netherlands Brabant region hosts many high-tech expats. It
box office and the sponsorship come right when to visit the festival, as well as other people from also fits to the planning of the STRP Festival
the festival starts or a bit before, and the major the European region. As can be seen from the to become an internationalized art and technol-
expenditures happen far earlier. Therefore, a research, Brabant region hosts a high level of ogy festival.
solution could be to attract the payer to pay far foreign expats, which is around 15.70% of the
earlier than the actual festival starts. The payer total population in year 2008. These people are
includes the general visitor, the sponsor and mostly working in the high-tech companies or
the grant. Connections can be made between the university with a technology-mind, and not
those three parties. For instance, an innovative really interested in the local cultural events.
business model can benefit the visitor and the As the focus of the STRP is to fuse the art and
sponsor at the same time that they are willing technology together, this might be an interest-
to pay for the festival beforehand. New ideas ing starting point to bring in those people to
could be based on the theory of co-creation and the festival.
the method of canvas innovation.
17

22. Client Feedback
Together with the coach, the theme-champ and business model to avoid the negative cash flow more of my growth as a designer. All the feed-
two other students in the same project, a client peeks, the client commented trivial to imple- backs were taken into account for further deci-
meeting was held on 18th March to discuss the ment it because it is always difficult for a fes- sion making.
directions we had in mind. My three directions tival to involve sponsors. The festivals mostly
were presented to all the participants in the or- have to ‘beg’ sponsors for contribution, and the
der mentioned in the previous chapter. time and amount depends on them. Therefore
it is almost impossible to be sponsored far ear-
In view of my three directions, feedback from lier before the festival starts according to the
the client was given separately. Based on the experience. The coach commented on this,
first direction to facilitate personal level com- saying that it could be possible to approach an
munication, the feedback was that the STRP individual instead of the company as a whole,
did try this concept with few experts before, which might make things easier.
but it failed because the interactive robot can- For the third direction, the client showed real
not deal with funny questions. It was hard to do interests, as he could feel much potential in it.
as people intend to ask wired questions when In addition, the target group is indeed very im-
they are motivated during a creative festival. portant for the region’s development and they
My reaction was that, getting people to ask and need cultural events to integrate more into the Figure 13. Workshop photo (credit; Enitia Karijodinomo)
observe how they ask is more important than Dutch society. The theme of STRP 2011 will be
the question itself. By observing their behav- the Dutch technology art, which could be taken
iour when asking a question, the festival can into consideration while designing. There was
get more out of it. Another comment from the no more feedback but the client confirmed his
theme-champ suggests that, the system could passion in this approach.
be the other way around that the robot asks and
the visitor answers. All these feedback are help- In all, the coach suggested that I could combine
ful concerning the first direction. one of the directions that I would be heading
For the second direction that to design a new for with my personal identity to demonstrate
18

23. Mid-term Exhibition
My goal of the mid-term exhibition was to pre- ‘co-creating a poster’ that the poster was actu-
sent all the concepts without pre-selecting, ally designed by the visitors and myself. This is
and get feedback from all the visitors. Visitors a try-out during the mid-term exhibition to see
were asked of feedbacks of every concept. The how the people react to an ‘interactive product’
process acted as a short interview that the pre- that requires their input and at the same time
senter will dig into the visitors’ feedback and they can see what others are doing. The results
discuss together. At the end of the interview, of the visitors’ reactions will be analysed.
every visitor had to choose their favourite con-
cept with their argument. All the feedback were There are six concepts presented during the ex-
taken into notes and analysed in the later step. hibition. They came from the three directions,
and based on the researches done before. All
Set-up six concepts were presented to the visitors con-
secutively.
There is no special set-up within the project
since none of the students was presenting with
a working prototype. Together with another
student in the same project, we used a laptop
to play an introduction video of the STRP Fes-
tival cyclically, for the people who do not know
STRP before to get a quick idea. For the poster
design, I left the main part empty without any
photos or images. Every visitor had to stick a
sketch onto the poster after he or she chose a fa-
Figure 15. Mid-term exhibition poster
vourite concept. Around the sketch, the visitor
could choose to write or draw his or her com- Figure 14. Mid-term exhibition set-up
ments with a marker. This created a so called
19

24. Concept One Concept Two
This concept requires every visitor enters the In this concept, every visitor should wear a de-
festival to wear a headphone with a micro- signed necklace when at the festival. On the
phone. As indicated when they are buying necklace, a small device has a LED inside, a lo-
the ticket, visitors can only talk to the people cation detector and a wireless connection mod-
that are in the same group. In this way, only ule. The device will continuously detect where
the people in the same group can hear what the visitor is in the festival, and how much
other group members are talking about, but time he or she spends on certain artwork. All
not to the strangers. This headset is wirelessly these data will be sent to a central server for
connected so that no matter where the group analysing. A proper match will be found when
member is at the festival, he or she can always an individual and a group spend almost the
speak to other group members. This closed same amount of time at several artworks. In
connection can be altered when there is any this case, the system will send out signals to
other person that appears to be interesting to the devices that belong to these people. After
the group. When this happens, the individual that when pass each other, the device in front
need to play a game together with the group, of their body will flicker to indicate a proper
after which the individual has, the access to the match was found.
original closed connection.
Figure 16. Mid-term concept one
20

25. Concept Three
In this concept, every visitor has a NFC device
attach to his or her hands. The device contains
a tag, which is set when buying the ticket. This
tag relates to the identity of the person, for in-
stance an artist would have the tag, art. Dur-
ing visiting when two people find each other
interesting, they can easily shake hands. When
doing so, the tag is automatically exchanged
thanks to the short operative distance of NFC
chips. In this way, a visitor should get many
tags after visiting the festival. The visitors can
review the tags at home to find out what kind of
people they talk to the most, which they might
not know before.
Figure 17. Mid-term concept two Figure 17. Mid-term concept three
21

26. Concept Four Concept Five
Next to each artwork, an interactive device is This concept is another form of the previous
located. It has a star on the top and a turning one. This one involves more body movements
wheel in the middle, which is reachable by of the users and actually un-rates certain art-
most of the people. When people like an art- work. The device is installed underneath the
work, they can turn the wheel in counter-clock sidewalk near the artwork. The half of the side-
direction, and the star on the top will be raised walk that closes to the artwork could be raised
higher. The force of the turning wheel is de- up. When people do not like certain artwork,
signed for at least two people to use, therefore they can stand on the other half of the sidewalk
people should always discuss together before to raise the half closes to the artwork. When
they can ‘rate’ an artwork. The same goes to many people stand on that side, the half closes
when they want to decrease the rate of certain to the artwork could be raised very high, physi-
artwork that the people could turn the wheel in cally deleting the artwork. Vice versa when peo-
the reversed direction. Therefore, when many ple do not agree with the un-rating, they can
people like an artwork, the star is higher than stand on the half that closes to the artwork to
others are which could attract more people’s at- make it lower. In this way, people are playing a
tention. physical game to rate the artworks.
Figure 19. Mid-term concept four
22

27. Concept Six
This is an in-room experimental game. The
game is not designed yet, but the principle is
that, it should be easy enough for everyone to
play with. In the room, a table is placed in the
middle and several chairs around it. Before en-
tering the room, the participant is blindfolded,
and then guided by a staff to sit down. While
playing the game, the participants can talk,
touch or even smell of each other without see-
ing. At the end of the game, the participant can
choose others that he or she finds interesting
before taking of the blindfold. This removes
the first judgement of people by seeing, which
lower the threshold of socializing.
Figure 20. Mid-term concept five Figure 21. Mid-term concept six
23

28. Feedback physically tagging them. Moreover, it is fun to • As the direction headed for bringing groups
play with. The possible improvement is that, al- and individuals together, the design should
The idea is that every visitor has to choose though hand shaking is quite common in the be comfortable for the groups to use.
one concept that he or she likes the most and western society, but still there could be better • People explore things differently depending
the paste it onto the ‘co-creating poster’. This behaviour to support the meeting process. on their cultural background. For instance,
makes the voting visible that, six people chose There are also other feedbacks from the visitors the Dutch people would explore new things
the second concept, four people chose the third including the coach. An appendix will demon- direct. However, the Asian people would
concept, one person chose the forth concept strate all other comments. probably do it in another manner.
and another chose the last concept. It is obvi- • Because one of the goals is to attract more
ous that most of people went to the second con- Expert Feedback foreign groups to come to the festival, the
cept of which the system could notify the simi- design should have more focuses on the
lar person by automatically analysing the data. Philip Ross as an expert in merging people’s pre-festival phase.
Still, more feedback that is detailed should be behaviour with culture was invited to give feed- • The solution could also be that, groups
taken into account. back on my direction. The idea was to seek ad- get in new people in the same culture be-
Visitors like the second concept because it vice for how to link users’ behaviour with their cause they speak the same language, which
makes possible and easier to meet strangers. cultural background, especially when they are makes the process easier.
The groups are open so that other people can foreigners. The feedback was categorized and • Some of the designs only offer one degree
also join. When wearing the device, the groups shown below. of freedom, for instance in the fourth con-
stand out from the individuals, which might be • The design should make them feel like at cept that people can only rate the artwork
a trigger for them to participate. Improvements home. This means that the design should without other expressions. By adding more
could be to differentiate the flickering colour, consider the common behaviour in certain degrees of freedom, the user can express
which might influence the behaviour when the culture and then integrate with the product. more than before.
strangers meet each other. For the third con- In this way when users are triggered to per-
cept, people like it because it makes tagging form certain action, the performance could
physical. People can compare their characteris- bring their memories back home.
tics with others by talking to them and
24

29. Concept Development
Target User Group groups, which is confirmed during the re- of getting feedback from all the people, while at
search period. When the festival starts, the tar- the same time kept my own chosen direction.
Based on my identity to be a cross-cultural de- get user group are the groups who want to get All the feedbacks are analysed and gathered
signer, the original idea was to attract foreign in new people, and the individuals who want to here as design qualities for further decision-
expats to visit this cultural festival. This idea seek for new opportunities. This includes the makings.
is confirmed by the researches that there is a people who pre-register as groups as they are • Fun and playful
large population of high-tech foreigners in the interested in getting in new people, but also the STRP positions itself as a fun festival, which
region. They are separated from this kind of individuals who see this interactive system in- is the main goal of it that the visitors should
cultural events because of the language bar- teresting. Although the system aims at making enjoy themselves when visiting.
rier that some of the festivals are running in new connections, it can also serve as a simple • Group and social
Dutch or their interests that they presume the information point where people can exchange There is the need to attract group visiting
festival to be too much artistic. It is difficult to knowledge with others. Therefore, the design according to the research. The client also
solve these two problems, so a design solution needs to be user friendly and coherent in the sees a lot of potential in it during the first
is needed. festival experience so that it can attract as much client meeting.
as possible of the visitors to use it. After the fes- • Technology and art
In the final design, the target user group tival ends, the target group are the people who The goal of the STRP Festival is to fuse art
turns into the people that would like to visit as have potential new connections found by the and technology. For the project, one of the
groups. This also takes into account of the for- system. All these people will be connected for target groups is the technical expats in the
eign expats that they tend to be in groups in the business reason that they are the potential region, which puts more emphasis on the
social activities instead of as individual. This is visitors for the coming year. technology aspect.
the main argument why the group is chosen • Before, during and after
to be the final target user group. In this case, Design Qualities The entire festival experience consist of not
before the festival starts, the communication only the visiting experience, but also the be-
should focus on all the people that tend to visit All three directions were kept and developed fore the festival starts and after it ends. All
as group. This including the foreign expats, into six concepts before the mid-tern exhibi- the periods need to be taken into considera-
and the local people who like to be in informal tion. The idea was to maximize the possibility tion.
25

30. • Multi-location Communication Model system more complex to use. Users have to dis-
The client suggests having a multi-location tinguish different types of dialogue by using
setting so that the visitors can get in touch As shown in Fig. 22, the several circle on the their cognitive power, which consumes time
with the system at anytime and anywhere left represent a pre-defined group of visitor; the and effort of human beings. In addition, this
during the visiting. circle on the right represents an individual visi- type of communication with the artwork is not
• Coherent tor; the triangle on the top represents the art- necessary when there are already dialogues
The festival experience should be coherent, work; and the square in the middle represents happening between human beings. Therefore,
which means the interactive system should the point of interaction. it should be removed to keep the process clean
not interrupt too much into the process. and fast, to meet one of the design qualities
Instead, the design should be able to be In order to bridge the group and the individual, that is the coherent experience. Besides, in the
merged with the original experience. a two-way communication is required. When first client meeting, the feedback suggested not
• New connection a certain communication is established, a con- trying with the robot concept because the ma-
The central idea is to make new connec- nection is made. When there are several con- chines nowadays are not intelligent enough to
tions for the individual visitors and groups. nections, the system can assume that these two process the languages of human beings. Con-
They can get this extra value by visiting the parties share the same interests. Other forms sequently, at the end, only the communication
festival, which is a motivation for the peo- of communication could be also taken into ac- between human beings is kept in the commu-
ple to come and enjoy. count, for instance the connection between the nication model.
human being and the artwork. All these inter-
actions are facilitated by the point of interac- The other aspect of the communication model
tion in the middle; therefore, the angles in the concerns the type of dialogue that is held be-
figure do not ‘exist’ in reality. tween human beings. According to C. Reed
The feedback from the coach suggested keep- and D. Long’s theory, there are six types of dia-
ing the connection between human being and logue, of which two are collaborative, inquiry
artwork. However, these relations were re- and information-seeking dialogue. Both types
moved based on the following arguments. The of dialogue have in common that they are aim-
communication with the artwork makes the ing at the same goal and supporting to achieve
26

31. it. In inquiry, the participants are at the same Functions List
side as providing information. However, in in-
formation-seeking dialogue, one of the partici- To support the two types of dialogue mentioned
pants is asking for information and the other in the previous section, certain functions are
one is providing it. These two fit the most to the required at the point of interaction.
context because they are the most common dia- • To identify the end user
logues happening between human beings, and RFID technology is chosen to be the one
beneath that, there could have sub-dialogues instead of the NFC technology, which is in
that supplement to those two types, such as favour of the STRP’s willingness. The argu-
Figure 22. Communication model
negotiation and persuasion. Hence, these two ment is that, the context does not require
types are chosen to be the main dialogue modes secure information transferring upon the
in the point of interaction. The interface is also original tagging function. In addition, there
intended to trigger these two types of dialogue, is also less information needed for tagging
which will be discussed in the prototype sec- function. Therefore, RFID is chosen to
tion. serve the tagging function.
• To post
In a dialogue, always an initiator starts the
conversation, so an input device is needed.
Several technologies could be possible,
namely, virtual keyboard, voice recognition,
scanning, touch screen, etc. The key idea is
to keep as much information as possible in
the dialogue so that other people can bet-
ter judge a person from it. This leads to the
decision to use hand writing to replace the
virtual keyboards, because the writing style
27

32. also shows the personalities. In Chinese, display device is required, such as a screen function is decided to be after the festival
there is an old saying that, the writing looks or a projector. In order to make the control- visiting because of the following reasons.
as he or she is. This gives the hand writing ling easier, a touch screen is suitable and in Firstly, still in order to obey the quality of
lots of potential to show a person more than accordance with the posting function. coherent, the point of interaction should
the context. However, of course the content • To review not have conflicts with the visiting experi-
of the dialogue is important as well. This function allows the user to review the ence. Although this function is essential, it
When comparing the technologies that pro- comments related to his or her post and rate is not necessary to show the result right at
vide the possibility to store hand writing them. This could be an important function the festival. Secondly, if the suggestion hap-
such as touch screen and scanning. The lat- because the user can filter out certain com- pens after the festival, there is a chance to
ter one requires an extra device and extra ments such as spams that have no connec- encourage the visitors to come to the festi-
steps to import the handwriting since there tion to the original post. Nevertheless, in val of next year. This has a business poten-
is already a screen needed for other func- reality, almost no people would like to visit tial for the festival to get in contact with the
tions. By adding extra devices to the system, the same spot in an exhibition for several visitors. With these arguments, this func-
the process becomes complex, which runs times with a reason that has no direct con- tion will be after the festival visiting and will
counter to one of the design qualities that nection to the artwork. In addition to obey, be described in details in the next chapter.
the process should be coherent. Therefore, the quality of coherent, unnecessary steps
the decision goes to use a touch screen to should be taken out to avoid conflicts with
serve all the functions so that every step is the visiting experience. Thus, at the end
clear at the first sight. this function is removed from the system.
• To comment • To suggest connection
This function is similar to the posting func- The value of posing and commenting is
tion that the user should be able to import to make connections with potential inter-
their handwritings to the system. The only esting individual or group. Therefore, this
difference is that the user should be able to function is essential in the system to make
read posts or other comments before he or a conclusion of what the users behave dur-
she can process to comment. Therefore, a ing the festival, and ‘reward’ them. This
28

33. STRP is SOCIAL
STRP is SOCIAL (shown as SiS below) is the fi- These are partly restricted by the design of the creating. This statement leads to the judge-
nal design of the Co-creating a Festival project, interface, but of course, the users are free to ment of the content to support maintenance of
because of the whole design process including use any form of language to express them. All the social connections that the judgement pro-
researches, ideation and concept development. these information are stored in the system in cess should be done by human beings instead
The outcome is an interactive system that fa- the format of bitmaps. No auto-recognition will of machines.
cilitates communication and potential connect be made for these bitmaps. Instead, the system When referring to the existing systems used in
between individual and group visitors. will match individual and group by analysing an exhibition environment, the content is al-
the links of their posts and comments. There- ways at the top among all. Festivals are trying
Concept fore, the system highly depends on the user to their best to provoke visitors to create content,
judge the content of the posts and comments, with a reward to highlight interesting ones.
The SiS provides possibility for the visitors to and the connections are actually made by the However, creating content is a mean to achieve
express their thoughts and seek for informa- users instead of the system. a certain goal, such as making social connec-
tion of the artworks at STRP at one point of in- After a full cycle of visiting, the system has a tions in this case. It is better to maximize the
teraction. connection map of the potential interesting in- goal instead of the mean, otherwise the parties
dividuals and groups. Separate emails will be involved might get lost. For instance the eS-
The visitors and their ideas are the central part sent to the visitors to propose a certain connec- phere system used in edition 2010 of the STRP
of the system. Besides each artwork places an tion. At the same time, the new group can reg- Festival, the tags were highlighted into tag
interactive device that is demonstrating the aes- ister for the next year’s festival and at the same cloud, online profiles, live feeding, etc. After
thetics of information, which motivates the vis- time get a discount. The detailed scenario will the festival ended, the organization had no clue
itors to take part in. People can post to express be explained in the coming section. or the how to deal with the ‘useless’ tags, since
an idea or to ask for extra information about an they were only meaningful during the festival
artwork. Other people can comment on those Looking back to the starting point, there are was being held. Hence, in my concept, the so-
pieces if they find it interesting. In this way the two statements that I want to argue and test cial connection between human beings is high-
dialogues are formed. There are two types of with this concept. The first one is that, the so- lighted instead of the content that they would
dialogues that the users can initiate, inquiry cial connections between human beings are be creating. To push it to an extreme, handwrit-
and information-seeking dialogue. more important than the content that they are ing was chosen to be the way to display the
29

34. content instead of such as virtual keyboards
that makes the content clear.
This leads to a problem that how to judge or
reuse the content that the people are creating.
Although the social connection is more impor-
tant, the content is still valuable in other occa-
sions despite of the privacy concern. Nowadays
with fast growing technologies, companies
tend to use algorisms to analyse the content
that they people are creating. For instance the
internet giant Google, they use many complex
algorisms to analyse users’ behaviours on the
internet, in order to push advertisements pre-
cisely. With a large database and a good data
mining method, it is possible to presume us-
ers’ potential interests. However, the machines
are not as intelligent as the human being is,
nor they have emotions. Still, many tasks can
only be handled with intelligence. Therefore, I
would like to challenge these technologies in
my concept, to hand in the power of judgement
to the end users. This process is integrated well
in the design. So when using the product, they
are actually using their intelligence to ‘influ-
ence’ the outcome of the product.
These form the basis of the design concept.
30

35. Scenario Pre-festival
One Two Three
There are ways of communications in the pub- People that are in groups need to pre-register After few weeks, the people that are in groups
lic space where people get to know the new die- online before they can join the festival. Indi- will receive a box of necklaces with RFID chips
mensions of participating in the STRP Festival, vidual visitors are optional for pre-registration. inside, and most importantly, the logos of their
edition 2011. In the online form, people in groups need to groups on the necklace. This serves as the en-
provide information about the groups and the trance ticket, the dashing chip and a ‘show off‘
logos. Tickets are pre-sold to these people with of the groups.
a special group discount.
31

36. Scenario Pre-festival
One Two
As an individual visitor, he or she can buy the After buying the ticket at the ticket office, the
ticket at the ticket office when the festival is individual visitors can register their informa-
running. There is an option that the visitor can tion into the system. In this way, the RFID chip
buy the ticket online, but most of them will not on their wrist is no longer only a chip, but also
buy long before the festival starts. an identification of a certain person.
32

37. Scenario During Festival
One Two Three
The display of the interaction point is actively After dashing in, the visitor can see the display After the visitor selects one of the floating in-
attracting people’s attention from far away. clearly now within certain distance. The pieces formation, another screen appears with the de-
When approaching, the system suggests that of floating information is attracting his atten- tails of certain information. So now the visitor
the visitor (individual or group) can dash in, tion. The imcomplete information triggers the get to know what the informations are on the
which is optional. visitor to seek for further information. display.
33

38. One Two Three
The display of the interaction point is actively The incomplete floating information triggers After pressing the posting button, the other
attracting people’s attention from far away. the visitor to leave his or her own piece. There screen appears on the display. Now the visitor
When approaching, the system suggests that is a clear posting button in the middle of the is invited to leave his or her own message by
the visitor (individual or group) can dash in, screen, which is also floating to attract atten- using his or her hand.
which is optional. tions.
34

39. One Two Three
The display of the interaction point is actively After dashing in, the visitor can see the display After reading a certain post, the visitor might
attracting people’s attention from far away. clearly now within certain distance. The pieces be triggered to reply to this message. In this
When approaching, the system suggests that of floating information is attracting his atten- case, by pressing a reply button, another screen
the visitor (individual or group) can dash in, tion. The imcomplete information triggers the appears, leading the visitor to write down his or
which is optional. visitor to seek for further information. her own thoughts.
35

40. Scenario Post-festival
One Two
The system will send an email or mail to every People form new groups because of the festival!
visitor that was found a potential connection to They can pre-buy the ticket again with a larger
another party. In this email or mail, the festival discount for the next year’s STRP Festival.
tries to connect these two partieis by sharing
limited personal information based on the in-
dication of the user while registering.
36

41. Prototype
Explore Screen
The explore screen contains two parts. The left
part shows a live camera picture of the related
artwork, and the right part shows the floating
information.
The idea of having the lfte part is that, the im-
age helps people connect the information float-
ing on the right side with the artwork. There-
fore it triggers people to think of thing related
to certain artwork. The image is lively updated,
therefore makes the whole system vivid.
On the right side of the scnreen there are float-
ing incomplete information. The idea is that,
this side intends to attract people from a far
distance, therefore people do not need to see
the whole information at that moment. There-
fore incomplete information is displayed and
floating around the screen. People can select
the part that they find interesting to further in-
vestigate it.
In the middle of the right side places a post but-
ton. This remains in the middle although also
floating triggers people to leave their thoughts.
37

42. Post & Reply Screen
This is a screen integrates the function of touch-
ing function so that people can use their hands
to write or even draw on it. In this middle part
places the writtable area. There are lines in it,
which looks like a notebook. The idea is to trig-
ger people to write than draw, although draw-
ing is allowed and also possible with this tech-
nology.
On the left bottom corner places two icons.
They are clear and straight ahead that, there
are two types of dialogue that the visitor can
initiate. The first one is the information seek-
ing dialogue that is represented by a question
mark; the second one is the inquiry that is rep-
resented by a exclamation mark. People can se-
lect a certain icon after they finished writing.
The last step is to press the button on the right
bottom part, which will send the hand writting
or drawing to the server as bitmap.
38

43. Read Screen
After user selects certain piece of incomplete
information on the explore screen, he or she
will be taken to this screen which shows the
full length of the selected information. The
bitmaps of the information is loaded from the
server and than displayed on the screen. No
OCR technology is used during the process.
On the left bottom corner places two icons de-
pending on the piece of information that is dis-
playing. User can choose to roll up or roll down
to see another piece of information, which is
read as a dialogue one by another.
If the user finds this dialogue is interesting, he
or she can press the butotn on the right bottom
corner to reply to this dialogue. After this ac-
tion, the user will be taken to the post & reply
screen where he or she can write or draw down
his or her thoughts.
39

44. Conclusions & Suggestions
The design is well finished in a sense that the
whole process is taken into consideration,
from pre-festival till post-festival. The proto-
type is full working during the final exhibition,
where people can actually post, reply and ex-
plore to the information. Users find it interest-
ing to have this kind of system that does not
care about the content, instead, they can free
themselves to try out by writing or drawing to
express fully of their thoughts.
There are still further steps can be taken to im-
prove the design. For instance, due to the lack
of context, it is hard to test whether the user
would like this kind of system of not during
a festival. Also, in the final design, the touch
screen could be replaced by another technology
which makes the whole process more fluent
and also playful.
40

45. Reference
1. Strijp-S_brochure_UK. Strijp-S. [On- 7. Foundation, Brainport. Welcome to 13. A Model of Human Crowd Behavior:
line] 2008. http://www.strijp-s.nl/app/resourc- Brainport. Eindhoven : s.n., 2009. Group Inter-Relationship and Collision Detec-
es/media/documents/Strijp-S_brochure_ tion Analysis. Musse, S.R. and Thalmann, D.
UK.pdf. 8. Facts & Figures Eindhoven Region Lausanne, Switzerland : s.n., 1997.
2008. Eindhoven : NV REDE, 2008.
2. STRP launches ambitious RFID ex- 14. Collaboration, Cooperation and Dia-
periment! STRP Festival. [Online] 17 12 2009. 9. Facts & Figures. Eindhoven Portal. [On- logue Classification. Reed, Chris and Long,
http://www.strp.nl/strp/content/article/119. line] http://www.eindhoven.eu/en/Introduc- Derek. London, England : s.n.
tion/Introducing_Eindhoven/Facts_%26_Fig-
3. eSphere. [Online] http://esphere.nl/. ures.
4. Near field communication. Wiki- 10. Facts and figures. Provincie Noord-Bra-
pedia, The Free Encyclopedia. [Online] bant. [Online] http://brabant.nl/subsites/eng-
[Cited: 8 6 2011.] http://en.wikipedia. lish/facts-and-figures.aspx.
org/w/index.php?title=Near_field_
communication&oldid=432996374. 11. Brand, Reon and Rocchi, Simona. Re-
thinking value in a changing landscape. Eind-
5. About the Forum. NFC Forum. [Online] hoven : Philips Design, 2011.
http://www.nfc-forum.org/aboutus/.
12. Understanding Group Behavior: Con-
6. How to set up a Film Festival. British sensual action by small groups. s.l. : Lawrence
Film Institude. [Online] 2001. http://www.bfi. Erlbaum Associates, Inc., Publishers, 1996.
org.uk/filmtvinfo/publications/pub-rep-brief/ 0-8058-1639-9.
pdf/how-filmfest.pdf.
41

46. Appendix - Coding
Main part of the code int changecount = 1, showclick = 0;
color from = color(147, 90, 82);
float[] brushPY = new float[brushtips];
color to = color(226, 161, 152); void setup() {
import com.phidgets.*;
int position, compareX, compareY, sec, psec, fnumber; setupReader();
import com.phidgets.event.*;
PImage img1, img11, img2, img22, img3, img33, img4, comments_up_0 = loadImage(“comments_up_0.
RFIDPhidget rfid = null;
img44, img5, img55, img6, img66; png”);
String tag = “”;
comments_down_0 = loadImage(“comments_down_0.
String fname = “hw-3.png”; png”);
import processing.opengl.*;
String[] fnames = new String[30]; writing_left_0 = loadImage(“writing_left_0.png”);
import codeanticode.gsvideo.*;
String[] fsave = new String[3]; writing_left_1 = loadImage(“writing_left_1.png”);
import de.looksgood.ani.*;
boolean iscomment; writing_right_0 = loadImage(“writing_right_0.png”);
int thepointer, themaxpointer, commentssetup = 0; writing_right_1 = loadImage(“writing_right_1.png”);
GSCapture cam;
button_none = loadImage(“button_none.png”);
PImage cam_trans, webcam, display;
float newX, easing = 0.25, x, y, px, py, targetX, targetY, homebutton = loadImage(“homebutton.png”);
PImage comments_up_0, comments_down_0, writing_
opac = 2, prevX = 0, prevY = 0; size(1920, 1080, OPENGL);
left_0, writing_left_1, writing_right_0, writing_right_1,
int brushtips = 500, cycleBrush = 500, brushsize = 0, frameRate(60);
button_none, homebutton;
moveMult = 1, writingsetup = 0; smooth();
int screenstatus = 1;
float minmove = -20, maxmove = 20; Ani.init(this);
int bg_count = 0;
float minopac = -10, maxopac = 10;
float minWC = -5, maxWC = 5; String[] cameras = GSCapture.list();
Circle_1[] circle_1 = new Circle_1[1];
float actualWeight, weightdivider = 3.8, moveRatio, ac- if (cameras.length == 0)
Circle_2[] circle_2 = new Circle_2[1];
tualMoveX, actualMoveY, fillon = 0, realOpac, saveFile {
Circle_3[] circle_3 = new Circle_3[1];
= 0; println(“There are no cameras available for capture.”);
Circle_4[] circle_4 = new Circle_4[1];
double prevMillis = 0, currMillis = 0; exit();
Circle_5[] circle_5 = new Circle_5[1];
boolean unchange = false; }
Circle_6[] circle_6 = new Circle_6[1];
int skip = 0, skip_count = 0; else {
Circles[] Post_button = new Circles[1];
float[] moveX = new float[brushtips]; cam = new GSCapture(this, 640, 480, 30, cameras[0]);
int[][] positions = new int[6][3];
float[] moveY = new float[brushtips]; cam.play();
String[] randomf = new String[6];
float[] opacChange = new float[brushtips]; }
color c1, c2, c3, c4, c5, c6;
float[] weightChange = new float[brushtips]; cam_trans = loadImage(“cam_trans.png”);
boolean cc1 = false, cc2 = false, cc3 = false, cc4 = false, cc5
float[] brushPX = new float[brushtips];
= false, cc6 = false;
42