Journal articles on the topic 'Digital addressable lighting interface'

Light emitting diodes (LEDs) as an efficient low-consumption lighting technology are being used increasingly in many applications. The move to LED lighting is also changing the way the lighting control systems are designed. Currently, most electronic ballasts and other digital lighting devices implement the Digital Addressable Lighting Interface (DALI) standard. This paper presents a low-cost, low-power effective DALI LED driver controller, based on open-source Raspberry Pi3 microcontroller prototyping platform. The control software is developed as a Linux kernel module under UBUNTU 18.04.2 LTS patched with PREEMPT_RT (Preemptive Real-time) for real-time processing. This dynamically loaded kernel module performs all the processing, communication and control operations of the Raspberry Pi3-based DALI controller with the DALI LED driver and LED luminaire. Software applications written in C and Python were developed for performance testing purposes. The experimental results showed that the proposed system could efficiently and effectively manage DALI LED drivers and perform lighting operations (e.g. dimming). The system can be used for a variety of purposes from personal lighting control needs and experimental research in control of electronic ballasts and other control gears, devices and sensors, to advanced requirements in professional buildings, including energy management, lighting maintenance and usage.

Smart lighting systems based on the Digital Addressable Lighting Interface (DALI) protocol are the most suitable for street lighting systems, allowing digital lighting control operations. Unfortunately, the microcontrollers, which are commonly used in the Wireless Sensor Network nodes to control the lamps, do not implement this protocol. The DALI protocol implemented by software in the microcontroller consumes hardware resources (timers), processing time and requires a precise temporal analysis of the application, due to the strict bit times and the Manchester coding that it uses. In this work, the design of a bridge is proposed to free the microcontroller from the implementation of the DALI protocol. The novelty of this work is the implementation of the DALI Bridge in a low-cost Field-Programmable Gate Array (FPGA) with low power consumption. The bridge has been described in the hardware description language following the 1076-93 and 1076.3-97 standards, to guarantee its portability. The results of the synthesis show that a minimum amount of logical and routing resources is used, that the power consumption is in the order of tens of mW, that it has a very small latency time and that it supports a high operating frequency, which allows adding new functions. Its operation is verified by implementing a wireless sensor node using an FPGA of the Lattice Semiconductor iCE40 family.

Background Conventional approaches to improve the quality of clinical patient imaging studies focus predominantly on updating or replacing imaging equipment; however, it is often not considered that patients can also highly influence the diagnostic quality of clinical imaging studies. Patient-specific artifacts can limit the diagnostic image quality, especially when patients are uncomfortable, anxious, or agitated. Imaging facility or environmental conditions can also influence the patient’s comfort and willingness to participate in diagnostic imaging studies, especially when performed in visually unesthetic, anxiety-inducing, and technology-intensive imaging centers. When given the opportunity to change a single aspect of the environmental or imaging facility experience, patients feel much more in control of the otherwise unfamiliar and uncomfortable setting. Incorporating commercial, easily adaptable, ambient lighting products within clinical imaging environments allows patients to individually customize their environment for a more personalized and comfortable experience. Objective The aim of this pilot study was to use a customizable colored light-emitting diode (LED) lighting system within a clinical imaging environment and demonstrate the feasibility and initial findings of enabling healthy subjects to customize the ambient lighting and color. Improving the patient experience within clinical imaging environments with patient-preferred ambient lighting and color may improve overall patient comfort, compliance, and participation in the imaging study and indirectly contribute to improving diagnostic image quality. Methods We installed consumer-based internet protocol addressable LED lights using the ZigBee standard in different imaging rooms within a clinical imaging environment. We recruited healthy volunteers (n=35) to generate pilot data in order to develop a subsequent clinical trial. The visual perception assessment procedure utilized questionnaires with preprogrammed light/color settings and further assessed how subjects preferred ambient light and color within a clinical imaging setting. Results Technical implementation using programmable LED lights was performed without any hardware or electrical modifications to the existing clinical imaging environment. Subject testing revealed substantial variabilities in color perception; however, clear trends in subject color preference were noted. In terms of the color hue of the imaging environment, 43% (15/35) found blue and 31% (11/35) found yellow to be the most relaxing. Conversely, 69% (24/35) found red, 17% (6/35) found yellow, and 11% (4/35) found green to be the least relaxing. Conclusions With the majority of subjects indicating that colored lighting within a clinical imaging environment would contribute to an improved patient experience, we predict that enabling patients to customize environmental factors like lighting and color to individual preferences will improve patient comfort and patient satisfaction. Improved patient comfort in clinical imaging environments may also help to minimize patient-specific imaging artifacts that can otherwise limit diagnostic image quality. Trial Registration ClinicalTrials.gov NCT03456895; https://clinicaltrials.gov/ct2/show/NCT03456895

A hybrid analog/digital very large-scale integration (VLSI) implementation of a spiking neural network with programmable synaptic weights was designed. The synaptic weight values are stored in an asynchronous module, which is interfaced to a fast current-mode event-driven DAC for producing synaptic currents with the appropriate amplitude values. It acts as a transceiver, receiving asynchronous events for input, performing neural computations with hybrid analog/digital circuits on the input spikes, and eventually producing digital asynchronous events in output. Input, output, and synaptic weight values are transmitted to/from the chip using a common communication protocol based on the address event representation (AER). Using this representation, it is possible to interface the device to a workstation or a microcontroller and explore the effect of different types of spike-timing dependent plasticity (STDP) learning algorithms for updating the synaptic weights values in the CAM module.

Abstract With the emergence of smart LEDs, lighting based interior design is becoming popular. However, most of the smart LED-based lighting systems rely on expert-human intervention to create a desired atmosphere. For convenience, commercial lighting systems offer a number of options but their usability is fairly restricted. Therefore, an intuitive interface is required for novice users to generate the desired lighting environment. In this paper, we have developed a software, named MudGet, which automatically extracts the light mood from a digital image and controls the LED lamps to reproduce a desired lighting effect according to the extracted light mood. In our method, the light mood is regarded as a set of the representative colors of the digital image. The representative colors are extracted by utilizing K-means clustering algorithm. The dimming parameters are set for which each of the LED lamps create the lighting environment with the mood extracted by the software. To evaluate the feasibility of mood reproduction qualitatively, the degree of similarity between the light mood in the digital image and the reproduced result using LEDs is evaluated by a user study under a miniaturized experimental set. We observe that users can easily produce a desired atmosphere through the proposed MudGet software. Highlights An image based lighting design interface is proposed. The interface controls customized LED module wirelessly. Desired lighting effect is generated from the color clustering centers of image.

OBJECTIVE To assess the digital educational technology interface Caring for the sensory environment in the neonatal unit: noise, lighting and handling based on ergonomic criteria. METHODS Descriptive study, in which we used the guidelines and ergonomic criteria established by ISO 9241-11 and an online Likert scale instrument to identify problems and interface qualities. The instrument was built based on Ergolist, which follows the criteria of ISO 9141-11. There were 58 undergraduate study participants from the School of Nursing of Ribeirao Preto, University of Sao Paulo, who attended the classes about neonatal nursing content. RESULTS All items were positively evaluated by more than 70% of the sample. CONCLUSION Educational technology is appropriate according to the ergonomic criteria and can be made available for teaching nursing students.

Traditional historico-critical music editions provide scholars and musicians with an edited score based on the interpretation of various sources such as the composer's autograph(s), letters and other materials from copyists or publishers. Their digital counterparts have the potential to offer new and more expanded ways to explore the work. This is based on the possibility to provide large amounts of source materials and to annotate more extensively (since printing costs are irrelevant). Furthermore, audio and video recordings of performances can be integrated. But, similarly important, the user interface makes it much easier to navigate in the complex network of cross-references between various source materials and the editor's annotations. The XML-based Music Encoding Initiative (MEI) format is the standard music representation format for digital music editions. In this article we discuss current MEI-based annotation practices and outline the current challenges for music annotations, including a discussion of anchoring options, the embedding of addressable elements in the local musical context, the annotation of audio, and the categorisation of annotations. This leads to a discussion of open questions such as the ability to secure authorship in open and reusable editions.

The semiconductor material, SiC single crystal substrate, has been become an indispensable substrate material in the field of semiconductor lighting. In order to detect the influence of polishing interface temperature on polishing quality in chemical mechanical polishing (CMP) SiC single crystal substrate online, in this paper, according to the principle of chemical mechanical polishing, a device has been designed for detecting the polishing interface temperature in chemical mechanical polishing. AT89S52 microcontroller-based, using six 1-wire digital temperature thermometer DS18B20 to detect the temperature signal of different six locations, then to transmit out by the wireless transmission module nRF24L01 chip, and to achieve a multi-point temperature signal collection and wireless transmission. The device is simple, reliable and low cost. It will be providing a reference for temperature measurements in ultra-precision machining process online.

The aim of the study was to build a low-cost mask-type eye tracker with accuracy and precision levels similar to those reported for commercial eye tracking devices. To this end, head-mounted hardware was designed and developed, while open-source software was modified for digital image capture, manipulation, and fixation analysis. An image recognition application was also included with different lighting scenarios. Moreover, parallax and viewing perspective errors were controlled to ensure the quality of data collection. The device was wireless and lightweight (99 g) to allow for natural movement and avoid participant discomfort. After calibration of a 9-target monocular grid, spatial accuracy and precision of the eye tracker was evaluated by 30 participants, at four different lighting setups, both before and after a climbing task. Validity tests showed high levels of accuracy in all conditions as evidenced by a systematic error for a 13-target grid of <0.5°. The reliability tests also showed consistent measurements with no differences in accuracy recorded between participants, lighting conditions, and visual behaviors for the pre- versus post-climbing task. These results suggest that the present eye tracker reports spatial accuracy similar to other commercial systems with levels of high quality. Altogether, this innovative user interface is suitable for research purposes and/or performance analysis in physical activity and sport-related activities. Also, features of this mask-type eye tracking system make it a suitable perceptual user interface to investigate human–computer interactions in a large number of other research fields including psychology, education, marketing, transportation, and medicine.

The global population is increasing rapidly, together with the demand for healthy fresh food. The greenhouse industry can play an important role, but encounters difficulties finding skilled staff to manage crop production. Artificial intelligence (AI) has reached breakthroughs in several areas, however, not yet in horticulture. An international competition on “autonomous greenhouses” aimed to combine horticultural expertise with AI to make breakthroughs in fresh food production with fewer resources. Five international teams, consisting of scientists, professionals, and students with different backgrounds in horticulture and AI, participated in a greenhouse growing experiment. Each team had a 96 m2 modern greenhouse compartment to grow a cucumber crop remotely during a 4-month-period. Each compartment was equipped with standard actuators (heating, ventilation, screening, lighting, fogging, CO2 supply, water and nutrient supply). Control setpoints were remotely determined by teams using their own AI algorithms. Actuators were operated by a process computer. Different sensors continuously collected measurements. Setpoints and measurements were exchanged via a digital interface. Achievements in AI-controlled compartments were compared with a manually operated reference. Detailed results on cucumber yield, resource use, and net profit obtained by teams are explained in this paper. We can conclude that in general AI performed well in controlling a greenhouse. One team outperformed the manually-grown reference.

<span>An Internet of Things (IoT) FPGA-based home hub to automate control operations in a home environment was designed and built. The proposed system uses an FPGA home hub as its local analytic engine with an IoT platform to store the sensory data. The FPGA was programmed in Verilog HDL using Quartus II provided by Altera. The WiFi capability of the FPGA was extended through an ESP8266 chip to ease the interfacing with various sensors connected to it. The system can be configured and monitored through a web application coded in JavaScript. Various test cases were carried out on the implemented system at Multimedia University (MMU) Digital Home Lab. The results verified the functionality of the system in triggering real home appliances (i.e. air conditioning unit and lighting) based on multiple sensor nodes without conflicting each other. The ability to allow user to configure the control rules based on the sensory data via web interface hosted using ThingSpeak Plugins is also presented and demonstrated in this project. The base design is utilizing Altera Cyclone IV EP4CE22F17C6N FPGA with 153 I/O pins, which is highly scalable and adaptable to the requirements of home environments. This shows promising application of FPGA in supporting scalable IoT home automation system.</span>

Adding supplementary texture and 2D image-based annotations to 3D surface models is a useful next step for domain specialists to make use of photorealistic products of laser scanning and photogrammetry. This requires a registration between the new camera imagery and the model geometry to be solved, which can be a time-consuming task without appropriate automation. The increasing availability of photorealistic models, coupled with the proliferation of mobile devices, gives users the possibility to complement their models in real time. Modern mobile devices deliver digital photographs of increasing quality, as well as on-board sensor data, which can be used as input for practical and automatic camera registration procedures. Their familiar user interface also improves manual registration procedures. This paper introduces a fully automatic pose estimation method using the on-board sensor data for initial exterior orientation, and feature matching between an acquired photograph and a synthesised rendering of the orientated 3D scene as input for fine alignment. The paper also introduces a user-friendly manual camera registration- and pose estimation interface for mobile devices, based on existing surface geometry and numerical optimisation methods. The article further assesses the automatic algorithm’s accuracy compared to traditional methods, and the impact of computational- and environmental parameters. Experiments using urban and geological case studies show a significant sensitivity of the automatic procedure to the quality of the initial mobile sensor values. Changing natural lighting conditions remain a challenge for automatic pose estimation techniques, although progress is presented here. Finally, the automatically-registered mobile images are used as the basis for adding user annotations to the input textured model.

Adding supplementary texture and 2D image-based annotations to 3D surface models is a useful next step for domain specialists to make use of photorealistic products of laser scanning and photogrammetry. This requires a registration between the new camera imagery and the model geometry to be solved, which can be a time-consuming task without appropriate automation. The increasing availability of photorealistic models, coupled with the proliferation of mobile devices, gives users the possibility to complement their models in real time. Modern mobile devices deliver digital photographs of increasing quality, as well as on-board sensor data, which can be used as input for practical and automatic camera registration procedures. Their familiar user interface also improves manual registration procedures. This paper introduces a fully automatic pose estimation method using the on-board sensor data for initial exterior orientation, and feature matching between an acquired photograph and a synthesised rendering of the orientated 3D scene as input for fine alignment. The paper also introduces a user-friendly manual camera registration- and pose estimation interface for mobile devices, based on existing surface geometry and numerical optimisation methods. The article further assesses the automatic algorithm’s accuracy compared to traditional methods, and the impact of computational- and environmental parameters. Experiments using urban and geological case studies show a significant sensitivity of the automatic procedure to the quality of the initial mobile sensor values. Changing natural lighting conditions remain a challenge for automatic pose estimation techniques, although progress is presented here. Finally, the automatically-registered mobile images are used as the basis for adding user annotations to the input textured model.

Background/Objectives: There is the needs for the service to send text message of location to guardian and acquaintance, and police station by waving smartphone quicklyin emergency circumstances that are on the cards at the moment.Methods/Statistical analysis: Android marshmallow version 6.0.1 in Samsung galaxy S6 smartphone is used to test beacon convergent security camera. Used application is Beacon Finder and test result of address and UUID in beacon is normally generated and found that the values have normal output.Findings: Development of security camera combined beacon signal for transmission of disaster and crime situation as well as tracking location is development in this study. Design of firmware for beacon signal transmitting device is implemented to achieve the goal. CCTV security camera with beacon signal through circuit design of CCTV and beacon interface is manufactured. Circuit design of beacon signal transmitting device based on Bluetooth 4.0 is implemented to develop an independent device.Improvements/Applications: Development of security camera combined beacon signal for transmission of disaster and crime situation as well as tracking location is development in this study. Design of firmware for beacon signal transmitting device is implemented to achieve the goal.Foundation technique in the field of home network, USN, and LED lighting control is possible to secure as various technique element for ubiquitous related convergence technology in the field of home electronic appliance with digital information is included

The primary aim of this research article regulates the power of Embedded Chopper \ (e-chopper) through PI (proportional and integral) controller to maintain constant output from non-reliable variable input. The operation of e-chopper plays an important role to transfer power from primary sources of wind & solar to load and secondary source of the grid to the battery by means of closed-loop operation. When the input is getting from primary source from the e-chopper operates in boost mode and also maintains buck mode when the secondary source charges the battery, which is controlled by Digital Signal Peripheral Interface controller (DSPIC) controller with another PI control structure. Obtains better regulation and operation of whole system for intermittent nature of renewable energy sources of wind and solar, Proper modes of operation requires effective maintenance & efficient utilization of power from both the side to control the system operation in a systematic way. It maintains the constant voltage of the system for reliable operation through an intelligent approach in a systematic way. Hence to obtain this, Main Controller (CLC) is introduced to control the modes of operation in closed-loop structure. Speedgoat real-time objective mechanism plays the role of CLC; it can operate the entire scheme in different modes of operation. Modes are depending on some input parameters like wind velocity (v) in m/s, solar output (Ir), load condition (1/0) & battery state of charge (SOC). Based on these conditions Main controller has to control the modes of operation in an intelligent approach. This system of approach is very much helpful for agriculture irrigation and lighting applications.

Analysis of Highway Addressable Remote Transducer (HART) protocol is important in reliability evaluation of HART based systems. The present work proposes a virtual instrument based solution for HART signal analysis that includes a digital oscilloscope with GPIB interface, a HART modem, a PC with a GPIB interface board and a RS232 port, and a software component developed in LabVIEW. The HART analyser permits the visualisation of signals that correspond to the HART protocol, gives access to data coming from field instruments and has the ability to analyse and modify field instrument performance.

Flat foot and cavus foot are two types of foot that can cause health problems at an advanced age. These types of foot may change because they evolve with age. Due to this, it is possible to correct the flat and cavus foot. Footprints can be used in order to detect these types of foot. This paper presents the development of a digital podoscope which, with the help of software, can generate a prognosis classification (cavus, normal or flat). The podoscope consisted of a glass supported by a metal frame with a camera at the bottom and lighting on the sides. The software consisted of a user interface developed with Visual Studio and image processing with MATLAB. The feet of 51 children of age range between 6 and 12 years were classified in an approximate time of 1 hour and a half over four days. The estimated time of each standing classification was approximately 1.5 minutes.

Abstract With the development of advanced image correlation and high-speed filming techniques, the kinematic field during the cutting process can be experimentally determined including the velocity and strain rate fields. As known, the setting parameters for the digital image correlation (DIC) as well as the optical parameters of the given camera and lighting system have a great influence on the spatial resolution and accuracy of the DIC results. In this study, the speckle pattern in terms of speckle size and intensity distribution are analyzed when using two different surface preparation methods. Moreover, the influences of the subset sizes for the image correlation on the strain rate are numerically studied. Interlaboratory measurements of the kinematic field during the orthogonal cutting of AISI 4140 were conducted with two different in-situ imaging setups. The material flow near the cutting tool edge determined from the velocity field is compared with the numerical simulation. The stagnation zone which is commonly found in the numerical simulation of the cutting process using a chamfered cubic boron nitride (CBN) tool was not observed in the experiments. Furthermore, slip-line fields were constructed from the experimentally determined strain rate components, from which the boundary conditions along the chip-free and chip-tool interface were derived.

Whilst no consensus yet exists on how the Internet of Things will be realised, a global infrastructure of networked physical objects that are readable, recognizable, locatable, addressable and controllable is undoubtedly a compelling vision. Although many implementations of the Internet of Things have presented these objects in a largely ambient sensing role, or providing some form of remote access/control, in this paper we consider the emerging convergence between games and the Internet of Things. This can be seen in a growing number of games that use objects as physical game pieces to enhance the players’ interaction with virtual games. These hybrid physical/digital objects present game designers with number of interesting challenges as they i) blur the boundaries between toys and games; ii) provide opportunities for freeform physical play outside the virtual game; and iii) create new requirements for interaction design, in that they utilise design techniques from both product design and computer interface design. Whilst in the past the manufacturing costs of such game objects would preclude their use within games from small independent games developers, the advent of low cost 3D printing and open software and hardware platforms, which are the enablers of the Internet of Things, means this is no longer the case. However, in order to maximise this opportunity game designers will need to develop new approaches to the design of their games and in this paper we highlight the design sensibilities required if they are to combine the digital and physical affordances within the design of such objects to produce good player experiences.

0. IntroductionIf we follow the line of much literature surrounding airports and urban mobility, the emphasis often falls on the fact that these spaces are designed to handle the mega-scale and super-human pace of mass transit. Airports have rightly been associated with velocity, as zones of rapid movement managed by enormous processing systems that guide bodies and things in transit (Pascoe; Pearman; Koolhaas; Gordon; Fuller & Harley). Yet this emphasis tends to ignore the spectrum of tempos and flows that are at play in airport terminals — from stillness to the much exalted hyper-rapidity of mobilized publics in the go-go world of commercial aviation.In this photo essay I'd like to pull a different thread and ask whether it's possible to think of aeromobility in terms of “uneven, differential mobility” (Bissell 280). What would it mean to consider waiting and stillness as forms of bodily engagement operating over a number of different scales and temporalities of movement and anticipation, without privileging speed over stillness? Instead of thinking mobility and stillness as diametrically opposed, can we instead conceive of them as occupying a number of different spatio-temporal registers in a dynamic range of mobility? The following is a provisional "visual ethnography" constructed from photographs of air terminal light boxes I have taken over the last five years (in Amsterdam, London, Chicago, Frankfurt, and Miami). Arranged into a "taxonomy of differentiality", each of these images comes from a slightly different angle, mode or directionality. Each view of these still images displayed in billboard-scale light-emitting devices suggests that there are multiple dimensions of visuality and bodily experience at play in these image-objects. The airport is characterized by an abundance of what appears to be empty space. This may be due to the sheer scale of mass transport, but it also arises from a system of active and non-active zones located throughout contemporary terminals. This photo series emphasises the "emptiness" of these overlooked left-over spaces that result from demands of circulation and construction.1. We Move the WorldTo many travellers, airport gate lounges and their surrounding facilities are loaded with a variety of contradictory associations and affects. Their open warehouse banality and hard industrial sterility tune our bodies to the vast technical and commercial systems that are imbricated through almost every aspect of contemporary everyday life.Here at the departure gate the traveller's body comes to a moment's rest. They are granted a short respite from the anxious routines of check in, body scans, security, information processing, passport scanning, itineraries, boarding procedures and wayfaring the terminal. The landside processing system deposits them at this penultimate point before final propulsion into the invisible airways that pipe them into their destination. We hear the broadcasting of boarding times, check-in times, name's of people that break them away from stillness, forcing people to move, to re-arrange themselves, or to hurry up. Along the way the passenger encounters a variety of techno-spatial experiences that sit at odds with the overriding discourse of velocity, speed and efficiency that lie at the centre of our social understanding of air travel. The airline's phantasmagorical projections of itself as guarantor and enabler of mass mobilities coincides uncomfortably with the passenger's own wish-fulfilment of escape and freedom.In this we can agree with the designer Bruce Mau when he suggests that these projection systems, comprised of "openings of every sort — in schedules, in urban space, on clothes, in events, on objects, in sightlines — are all inscribed with the logic of the market” (Mau 7). The advertising slogans and images everywhere communicate the dual concept that the aviation industry can deliver the world to us on time while simultaneously porting us to any part of the world still willing to accept Diners, VISA or American Express. At each point along the way these openings exhort us to stop, to wait in line, to sit still or to be patient. The weird geographies depicted by the light boxes appear like interpenetrating holes in space and time. These travel portals are strangely still, and only activated by the impending promise of movement.Be still and relax. Your destination is on its way. 2. Attentive AttentionAlongside the panoramic widescreen windows that frame the choreography of the tarmac and flight paths outside, appear luminous advertising light boxes. Snapped tightly to grid and locked into strategic sightlines and thoroughfares, these wall pieces are filled with a rotating menu of contemporary airport haiku and ersatz Swiss graphic design.Mechanically conditioned air pumped out of massive tubes creates the atmosphere for a very particular amalgam of daylight, tungsten, and fluorescent light waves. Low-oxygen-emitting indoor plants are no match for the diesel-powered plant rooms that maintain the constant flow of air to every nook and cranny of this massive processing machine. As Rem Koolhaas puts it, "air conditioning has launched the endless building. If architecture separates buildings, air conditioning unites them" (Koolhaas). In Koolhaas's lingo, these are complex "junkspaces" unifying, colliding and coalescing a number of different circulatory systems, temporalities and mobilities.Gillian Fuller reminds us there is a lot of stopping and going and stopping in the global circulatory system typified by air-terminal-space.From the packing of clothes in fixed containers to strapping your belt – tight and low – stillness and all its requisite activities, technologies and behaviours are fundamental to the ‘flow’ architectures that organize the motion of the globalizing multitudes of today (Fuller, "Store" 63). It is precisely this functional stillness organised around the protocols of store and forward that typifies digital systems, the packet switching of network cultures and the junkspace of airports alike.In these zones of transparency where everything is on view, the illuminated windows so proudly brought to us by J C Decaux flash forward to some idealized moment in the future. In this anticipatory moment, the passenger's every fantasy of in-flight service is attended to. The ultimate in attentiveness (think dimmed lights, soft pillows and comfy blankets), this still image is captured from an improbable future suspended behind the plywood and steel seating available in the moment —more reminiscent of park benches in public parks than the silver-service imagined for the discerning traveller.3. We Know ChicagoSelf-motion is itself a demonstration against the earth-binding weight of gravity. If we climb or fly, our defiance is greater (Appleyard 180).The commercial universe of phones, cameras, computer network software, financial instruments, and an array of fancy new gadgets floating in the middle of semi-forgotten transit spaces constitutes a singular interconnected commercial organism. The immense singularity of these claims to knowledge and power loom solemnly before us asserting their rights in the Esperanto of "exclusive rollover minutes", "nationwide long distance", "no roaming charges" and insider local knowledge. The connective tissue that joins one part of the terminal to a commercial centre in downtown Chicago is peeled away, revealing techno-veins and tendrils reaching to the sky. It's a graphic view that offers none of the spectacular openness and flights of fancy associated with the transit lounges located on the departure piers and satellites. Along these circulatory ribbons we experience the still photography and the designer's arrangement of type to attract the eye and lure the body. The blobby diagonals of the telco's logo blend seamlessly with the skyscraper's ribbons of steel, structural exoskeleton and wireless telecommunication cloud.In this plastinated anatomy, the various layers of commercially available techno-space stretch out before the traveller. Here we have no access to the two-way vistas made possible by the gigantic transparent tube structures of the contemporary air terminal. Waiting within the less travelled zones of the circulatory system we find ourselves suspended within the animating system itself. In these arteries and capillaries the flow is spread out and comes close to a halt in the figure of the graphic logo. We know Chicago is connected to us.In the digital logic of packet switching and network effects, there is no reason to privilege the go over the stop, the moving over the waiting. These light box portals do not mirror our bodies, almost at a complete standstill now. Instead they echo the commercial product world that they seek to transfuse us into. What emerges is a new kind of relational aesthetics that speaks to the complex corporeal, temporal, and architectural dimensions of stillness and movement in transit zones: like "a game, whose forms, patterns and functions develop and evolve according to periods and social contexts” (Bourriaud 11). 4. Machine in the CaféIs there a possible line of investigation suggested by the fact that sound waves become visible on the fuselage of jet planes just before they break the sound barrier? Does this suggest that the various human senses are translatable one into the other at various intensities (McLuhan 180)?Here, the technological imaginary contrasts itself with the techno alfresco dining area enclosed safely behind plate glass. Inside the cafes and bars, the best businesses in the world roll out their biggest guns to demonstrate the power, speed and scale of their network coverage (Remmele). The glass windows and light boxes "have the power to arrest a crowd around a commodity, corralling them in chic bars overlooking the runway as they wait for their call, but also guiding them where to go next" (Fuller, "Welcome" 164). The big bulbous plane sits plump in its hangar — no sound barriers broken here. It reassures us that our vehicle is somewhere there in the network, resting at its STOP before its GO. Peeking through the glass wall and sharing a meal with us, this interpenetrative transparency simultaneously joins and separates two planar dimensions — machinic perfection on one hand, organic growth and death on the other (Rowe and Slutsky; Fuller, "Welcome").Bruce Mau is typical in suggesting that the commanding problem of the twentieth century was speed, represented by the infamous image of a US Navy Hornet fighter breaking the sound barrier in a puff of smoke and cloud. It has worked its way into every aspect of the design experience, manufacturing, computation and transport.But speed masks more than it reveals. The most pressing problem facing designers and citizens alike is growth — from the unsustainable logic of infinite growth in GDP to the relentless application of Moore's Law to the digital networks and devices that define contemporary society in the first world. The shift of emphasis from speed to growth as a time-based event with breaking points and moments of rupture has generated new possibilities. "Growth is nonlinear and unpredictable ... Few of us are ready to admit that growth is constantly shadowed by its constitutive opposite, that is equal partners with death” (Mau 497).If speed in part represents a flight from death (Virilio), growth invokes its biological necessity. In his classic study of the persistence of the pastoral imagination in technological America, The Machine in the Garden, Leo Marx charted the urge to idealize rural environments at the advent of an urban industrialised America. The very idea of "the flight from the city" can be understood as a response to the onslaught of technological society and it's deathly shadow. Against the murderous capacity of technological society stood the pastoral ideal, "incorporated in a powerful metaphor of contradiction — a way of ordering meaning and value that clarifies our situation today" (Marx 4). 5. Windows at 35,000 FeetIf waiting and stillness are active forms of bodily engagement, we need to consider the different layers of motion and anticipation embedded in the apprehension of these luminous black-box windows. In The Virtual Window, Anne Friedberg notes that the Old Norse derivation of the word window “emphasizes the etymological root of the eye, open to the wind. The window aperture provides ventilation for the eye” (103).The virtual windows we are considering here evoke notions of view and shelter, open air and sealed protection, both separation from and connection to the outside. These windows to nowhere allow two distinct visual/spatial dimensions to interface, immediately making the visual field more complex and fragmented. Always simultaneously operating on at least two distinct fields, windows-within-windows provide a specialized mode of spatial and temporal navigation. As Gyorgy Kepes suggested in the 1940s, the transparency of windows "implies more than an optical characteristic; it implies a broader spatial order. Transparency means a simultaneous perception of different spatial locations" (Kepes 77).The first windows in the world were openings in walls, without glass and designed to allow air and light to fill the architectural structure. Shutters were fitted to control air flow, moderate light and to enclose the space completely. It was not until the emergence of glass technologies (especially in Holland, home of plate glass for the display of commercial products) that shielding and protection also allowed for unhindered views (by way of transparent glass). This gives rise to the thesis that windows are part of a longstanding architectural/technological system that moderates the dual functions of transparency and separation. With windows, multi-dimensional planes and temporalities can exist in the same time and space — hence a singular point of experience is layered with many other dimensions. Transparency and luminosity "ceases to be that which is perfectly clear and becomes instead that which is clearly ambiguous" (Rowe and Slutsky 45). The light box air-portals necessitate a constant fluctuation and remediation that is at once multi-planar, transparent and "hard to read". They are informatic.From holes in the wall to power lunch at 35,000 feet, windows shape the manner in which light, information, sights, smells, temperature and so on are modulated in society. "By allowing the outside in and the inside out, [they] enable cosmos and construction to innocently, transparently, converge" (Fuller, "Welcome" 163). Laptop, phone, PDA and light box point to the differential mobilities within a matrix that traverses multiple modes of transparency and separation, rest and flight, stillness and speed.6. Can You Feel It?Increasingly the whole world has come to smell alike: gasoline, detergents, plumbing, and junk foods coalesce into the catholic smog of our age (Illich 47).In these forlorn corners of mobile consumption, the dynamic of circulation simultaneously slows and opens out. The surfaces of inscription implore us to see them at precisely the moment we feel unseen, unguided and off-camera. Can you see it, can you feel it, can you imagine the unimaginable, all available to us on demand? Expectation and anticipation give us something to look forward to, but we're not sure we want what's on offer.Air travel radicalizes the separation of the air traveller from ground at one instance and from the atmosphere at another. Air, light, temperature and smell are all screened out or technologically created by the terminal plant and infrastructure. The closer the traveller moves towards stillness, the greater the engagement with senses that may have been ignored by the primacy of the visual in so much of this circulatory space. Smell, hunger, tiredness, cold and hardness cannot be screened out.In this sense, the airplanes we board are terminal extensions, flying air-conditioned towers or groundscrapers jet-propelled into highways of the air. Floating above the horizon, immersed in a set of logistically ordained trajectories and pressurized bubbles, we look out the window and don't see much at all. Whatever we do see, it's probably on the screen in front of us which disconnects us from one space-time-velocity at the same time that it plugs us into another set of relations. As Koolhaas says, junkspace is "held together not by structure, but by skin, like a bubble" (Koolhaas). In these distended bubbles, the traveler momentarily occupies an uncommon transit space where stillness is privileged and velocity is minimized. The traveler's body itself is "engaged in and enacting a whole kaleidoscope of different everyday practices and forms" during the course of this less-harried navigation (Bissell 282).7. Elevator MusicsThe imaginary wheel of the kaleidoscope spins to reveal a waiting body-double occupying the projected territory of what appears to be a fashionable Miami. She's just beyond our reach, but beside her lies a portal to another dimension of the terminal's vascular system.Elevators and the networks of shafts and vents that house them, are to our buildings like veins and arteries to the body — conduits that permeate and structure the spaces of our lives while still remaining separate from the fixity of the happenings around them (Garfinkel 175). The terminal space contains a number of apparent cul-de-sacs and escape routes. Though there's no background music piped in here, another soundtrack can be heard. The Muzak corporation may douse the interior of the elevator with its own proprietary aural cologne, but at this juncture the soundscape is more "open". This functional shifting of sound from figure to ground encourages peripheral hearing, providing "an illusion of distended time", sonically separated from the continuous hum of "generators, ventilation systems and low-frequency electrical lighting" (Lanza 43).There is another dimension to this acoustic realm: “The mobile ecouteur contracts the flows of information that are supposed to keep bodies usefully and efficiently moving around ... and that turn them into functions of information flows — the speedy courier, the networking executive on a mobile phone, the scanning eyes of the consumer” (Munster 18).An elevator is a grave says an old inspector's maxim, and according to others, a mechanism to cross from one world to another. Even the quintessential near death experience with its movement down a long illuminated tunnel, Garfinkel reminds us, “is not unlike the sensation of movement we experience, or imagine, in a long swift elevator ride” (Garfinkel 191).8. States of SuspensionThe suspended figure on the screen occupies an impossible pose in an impossible space: half falling, half resting, an anti-angel for today's weary air traveller. But it's the same impossible space revealed by the airport and bundled up in the experience of flight. After all, the dimension this figures exists in — witness the amount of activity in his suspension — is almost like a black hole with the surrounding universe collapsing into it. The figure is crammed into the light box uncomfortably like passengers in the plane, and yet occupies a position that does not exist in the Cartesian universe.We return to the glossy language of advertising, its promise of the external world of places and products delivered to us by the image and the network of travel. (Remmele) Here we can go beyond Virilio's vanishing point, that radical reversibility where inside and outside coincide. Since everybody has already reached their destination, for Virilio it has become completely pointless to leave: "the inertia that undermines your corporeity also undermines the GLOBAL and the LOCAL; but also, just as much, the MOBILE and the IMMOBILE” (Virilio 123; emphasis in original).In this clinical corner of stainless steel, glass bricks and exit signs hangs an animated suspension that articulates the convergence of a multitude of differentials in one image. 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