This workshop will introduce a few technologies expecting no prior technical background from attendees. Our purpose in this introductory part of the workshop is to indicate the enormous diversity of modern technologies for the creation and modulation of light, including piezo-luminescent textiles, quantum devices (like LED’s), dichroic films, thermo paint, and industrial protocols for transmitting animation logics such as DMX, MIDI, and DALI.
The goal here, however, is to get a strategic way of thinking about a field that is evolving so rapidly that any lighting technology is superseded practically by the time that it is installed.


How to Apply

interested participants are asked to submit position papers (3-4 pages) addressing the three themes and questions listed below. Preference will be given to reports on realized prototypes. A subset of the papers will be selected for presentation during the EXAMPLES phase of the workshop.

Interested participants should send their papers to the following email: omar [AT] morscad [DOT] com by August 1st 2013 at the latest, and the organizers will get in touch with you on the status and details of your submission.



Given an installed infrastructure of adequately addressable lighting networks, how can we condition, but not over-determine, the potential events in a physical site with animated or responsive lighting? What are differences from the perspective of the designer and from the inhabitant between (1) scripted (cue-based), (2) interactive, and (3) responsive logics?



Building on robust and flexible methods for authoring responsive logics to animate amorphous lighting networks, we focus design on the experience of the event rather than on the state of the technical apparatus. What are some proposals for modulating with animate lighting the inhabitants’ experience of a given site or built environment?



Ideas from spatialization sound: The first mistake that visually-oriented designers make when beginning to work with sound design is to think about sound as occupying a specific place, or having a specific geometric extent or shape. In fact, sound is the quintessentially temporal medium: its extent is duration, its directionality is change.
We see what we can borrow back from sound design to the design of lighting when used as a way to shape event.
In particular, we explore the phenomenology of temporality (sense of time, or time consciousness), and how this can be conditioned by computationally modulated fields of lighting (and sound).