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                              B a y C H I

                 The San Francisco Bay Area ACM SIGCHI
          Special Interest Group on Computer-Human Interaction
                    announces its February meeting:

                       Tuesday, February 13, 2001
                             7:00-9:30 p.m.

                               7:00-7:30:
  Electronic Sculptures, Tea, Coffee, Socializing, Joining BayCHI, ...

                               7:30-9:30:
                      Sculpture as Pure Interface
                              Bruce Cannon
                                   +
                            Groovy Patterns:
         HCI, Interactive Music Exhibits, and Pattern Languages
                   Jan Borchers, Stanford University

       NOTE THAT WE RETURN TO OUR USUAL MEETING PLACE THIS MONTH
                         Xerox PARC Auditorium
                         3333 Coyote Hill Road
                          Palo Alto, CA 94304

      (BayCHI meeting attendance is free and open to the public.)

             BayCHI programs are not audio- or videotaped,
               and taping by attendees is not permitted.

Abstract of "Sculpture as Pure Interface":

Bay Area artist Bruce Cannon will discuss his electronic, robotic, and
interactive sculpture in the context of interface design, describing
the use of artmaking as a laboratory for the development of new
computer-human interface strategies.

BRUCE CANNON is a San Francisco Bay Area-based artist working with
technological materials.  Born in Washington state in 1960, he received
a BA in video and sculpture from the Evergreen State College in 1985
and an MFA in Conceptual Design from San Francisco State University in
1991.

His work typically uses computers, custom electronic circuits and
various sensors to create machines which explore the relationships
between technology, culture and nature.  He worked for several years as
studio assistant to sculptor Alan Rath, and is represented in San
Francisco by Gallery Paule Anglim, in Kansas City by Byron Cohen
Gallery, and in Los Angeles by Patricia Correia Gallery.

His exhibitions include "Tempus Fugit" at the Nelson-Atkins Museum in
Kansas City, "The Time of Our Lives" at the New Museum in New York,
"The Self, Absorbed" at the Bellevue Art Museum in Washington State,
"Points of Entry" at the Los Angeles County Museum of Art and "Bay Area
Now" at the Yerba Buena Center for the Arts in San Francisco.

He maintains a parallel career in embedded systems design.

----------------------

Abstract of "Groovy Patterns: HCI, Interactive Music Exhibits, and
Pattern Languages":

One of the biggest problems that teams face when they are designing for
interactive experiences is interdisciplinary communication within the
design group.

Pattern languages have become a buzzword in software engineering, and
actually seem to work well to express expertise in that field.
However, software engineering has not begun to tap the full potential
of the pattern idea.  For this, the authors of a seminal book on
software patterns were even put before a "trial" at a recent conference.

Instead of blindly copying the pattern concept over from software
engineering, HCI can get much more mileage out of the pattern idea by
consciously adopting it from its original roots in urban architecture.

This approach leads to a new, unified framework that uses pattern
languages to model experience not only about human-computer interaction
design and software engineering, but also about the application domain
of interactive software projects.  It creates a "lingua franca" for
everybody involved in the design process, making true participatory
design possible.

To avoid a comatose audience, some of the interactive exhibits, such as
"Personal Orchestra", "Virtual Vienna", and "WorldBeat", which were
designed by the speaker using this approach, will be demonstrated
during the talk.  Afterwards, you will get a chance to improvise to a
Blues Band without playing wrong notes, or to conduct the Vienna
Philharmonic yourself (and have them yell at you if you aren't doing
well enough).

JAN BORCHERS is acting Assistant Professor of Computer Science at
Stanford University, where he explores post-desktop user interfaces and
their use in future learning, working, and performance environments.
He is also the author of "A Pattern Approach to Interaction Design,"
the first book dealing with HCI patterns in detail, to be published by
John Wiley & Sons in March 2001.

He holds a Ph.D. from Darmstadt University of Technology for his work
on patterns for interaction design, and has been a researcher and
lecturer in HCI at the Universities of Darmstadt and Ulm in Germany
since 1996.

He has designed and led the development of interactive systems since
1995, including "Personal Orchestra" which lets users conduct the
Vienna Philharmonic, the "Virtual Vienna" 3-D city tour (both for a
large museum in Vienna), and the award-winning interactive music
exhibit "WorldBeat" (presented at CHI'97 and elsewhere) for the Ars
Electronica Center in Linz, Austria.

He received his M.Sc. in Computer Science from the University of
Karlsruhe in Germany in 1995, after studying in Karlsruhe and at
Imperial College, University of London, with emphasis on human-computer
interaction, computer graphics, connectionism, and educational theory.

He has authored papers for journals such as IEEE Multimedia, Computers
& Graphics, and the SIGCHI Bulletin, and presented his work at CHI,
DIS, IEEE ICMCS, WWW, and other conferences.  He co-organized HCI
patterns workshops at INTERACT'99 and CHI'00.

Jan Borchers is a member of ACM and SIGCHI, and the German Computer
Science Society (GI) and its software ergonomics group.  He can be
reached at <borchers@stanford.edu>.  For more information, see:

 http://www.stanford.edu/~borchers/