KMoriwakiJBruckerCohenDepartmentofElectronicandElectricalEngineeringUniversityofDublinTrinityCollegeDublin2IrelandEmailkakikakirinecomEmailjonahcoinoperatedcomTel35316082567AISo ID: 423569
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ORIGINALARTICLEKatherineMoriwakiJonahBrucker-CohenLessonsfromthescrapyard:creativeusesoffoundmaterialswithinaworkshopsettingReceived:18May2005/Accepted:19August2005/Publishedonline:15March2006Springer-VerlagLondonLimited2006AbstractThispaperfocusesonaspectrumofworkshopsdevelopedbytheauthors,collectivelyreferredtoasScrapyardChallenges.Theseworkshopsaskparticipantstocreateacomputationallydesignedobjectwithinaxedtimeframeusingcast-omaterialsandjunk.Dependingonthefocusonthework-shop,participantsdevelopmusicalcontrollers,fashion-orientedwearables,orstreetinterventions.Thoughoperatingindiverseapplicationdomains,eachworkshopintroducesathirdplacewherecreativeappropriationofmaterialsandplayfulexperimentationistheprimaryreward.Theendresultshavebeenremarkable,withboththenoviceandadvancedparticipantproducinghighlycreativeprototypes.Eachvariationoftheworkshopandselectedresultsaresharedanddetailed.Futurework,aswellastheimplicationsofthisapproachwithinasingularworkshopsettingandaclassroomisdiscussed.TheScrapyardChallengeworkshopshavebeendeployedinsixdierentcountriesandhavecontributedtocurriculumdevelopmentforagraduate-levelclasswhichutilizestheworkshopprinciplesattheMSc.MultimediaSystemscourseatTrinityCollegeDublin.KeywordsDIYcomputingSustainabledesignMusicalcontrollersWearablesFashionArtisticapplicationsEducation1IntroductionTheScrapyardChallengeisaspectrumofworkshopswhichhavebeendevel-opedoverthepast2years.BeginningwiththerstMIDIScrapyardChallengeheldinDubin,Irelandin2003,theScrapyardChallengehasbeenusedasafunandaccessiblewayfornoviceandexperiencedparticipantstocometogetherandexperimentwithphysicalcomputingandinteractiondesign.InthispapertheauthorspresenttheirmotivationfordevelopingtheScrapyardChallenge K.Moriwaki(J.Brucker-CohenDepartmentofElectronicandElectricalEngineering,UniversityofDublin,TrinityCollege,Dublin2,IrelandE-mail:kaki@kakirine.comE-mail:jonah@coin-operated.comTel.:+353-1-6082567AI&Soc(2006)20:506 525DOI10.1007/s00146-006-0036-7 workshops,detailtheworkshopstructure,andshareselectedworkshopresults.Throughdescribingthemanifestationsoftheworkshopsanddiscussingtheirbackgroundandmotivationtheworkshopsarepresentedasateachingstrategywheresafeexplorationoftechnologycantakeplace.Additionally,someofthelargercritiquesimpliedinsuchanapproachcanprovidevaluableinsightsintofutureeducationalopportunities.Whilenotadvocatedasatotaleducationalcurriculum,itnonethelesscanbeameaningfulcontributiontoaneducationalinitiative,eitheraloneorincorporatedintotheclassroom.2MotivationandbackgroundWhilevarioussystemsandapproachesforlearningandexperimentingwithelectronicsandphysicalcomputingexist,oftentherearetwodicultiesthesemethodsencounter:(1)Ahighceilingoftechnicalknowledgewhichmustbereachedbeforeengaginginthedesignprocess.(2)Costandaccessibility.ElectronicsclassesdesignedforartistsoftentakehobbyistmicrocontrollerssuchastheBasicStamporPICandattempttoteachtheparticipantfromthegrounduphowtobuildtheirownelectroniccircuitstodriveinteractiveprojects.Sincethereisagreatdealofbasicknowledgeneededinordertodothis,evenatthehobbyistlevel,thelengthsoftheseclassestendtoaligntowardsasemesterorseveralweeks.Whilethereisvaluetothisapproachinthatitallowsfortimetothoroughlycoverbasicconcepts,itisalsoprohibitive.Thepayoofcreatinganinteractiveobjectisoftendelayedandonlyenjoyedafterseveralsmallerskill-buildingtasks.Thedirectexperienceofthedesignprocessisextractedandspreadoutoverthisperiodofweeks.Somesystemsattempttocircumventthisprocess,suchasthepopularLegoMindstorms,throughprovidingacompletedevelop-mentenvironmentwherecomponentscanbecombinedandprogrammedtointeractwitheachother.Howeversuchsystemsdonotallowdeparturefromapredenedaestheticandaregenerallyexpensive.Withothereducationalelec-tronicssystemstheassociatedstart-upcosts(TheHandyboardcosts$299USD,anEZIOboardispricedat$129USDandaTELEOstarterkitispricedat$189USD)arestillquitehighforbeginners,andadditionalelectronicsinstructionisstillrequiredtotakefulladvantageofthem.Ontheotherhand,aself-containedworkshopcanprovideacondenseddesignexperiencewhich,howeverincapableofimpartingtechnicalprociency,canstillimpartkeyelementsofinteractiondesign.Theparticipantwouldstillrequireamoreextensiveclasstolearnbasicelectronics,yetthegroundworkforfuturedevelopmentwouldbeset.ThemotivationfortheScrapyardChallengeworkshopscamefromadesiretocreateaworkshopexperiencewhichwouldrstandforemostallowpeopletoimmediatelybegincreatinginteractiveobjects,buttodosoinawaythatwasnotprohibitiveduetocostortimecommitment.Whilenotenvisionedasareplacementtoamorefocusedelectronicsclass,theScrapyardspectrumofworkshopsbeganasawaytoopentheinteractivedesignexperiencetoavarietyofindividualswithdieringskilllevels.Inordertoaccomplishthis,thework-shophadtobeopenenoughtowelcomeeveryone,regardlessofexperience,beinexpensive,andnotrequirespecialtyequipment.Asinspiration,theauthorslookedtoDIYpractices,hacking,andpopcultureforinsightsonhowtode-velopsuchanenvironment. 2.1DIYpracticesWithrootsinthepunkmovement,aDIYethicfavorsdirectactionandinde-pendence.Ifonedoesntapproveoforlikewhatothershavedonebeforethentheresponsibilityisontheindividualtotakeupthecreativemantle.InherentinthecultureofDIYisthecritiqueofconsumercultureandarejectionofinsti-tutionalhierarchies.Byskirtingaroundthemainstream,followersofDIYmethodsndinexpensive,alternativewaysofdoingthings.WhilepopularizedbyZineculture,whichencompassesawiderangeofsmallcirculationandnon-commerciallyproducedself-producedpublications(Spencer),DIYpracticesarealiveeverywhere.Fromthejoysofself-madehome-improvementstotheTokyostreetfashioncapturedbyAoki(2001),theDIYaestheticwillexertitselfwherepeopledesirenon-commoditizeddierentiationandchoice.Theextensivecircuitbending(Ghazala2005)communityisanotherexampleofthis,whichadvocatesturningcheapelectronictoysintopersonallyconstructedmusicalinstruments.TherelationshipbetweenDIYenthusiastsandhackersisacloseone,asoftenthesameimpulsesdrivetheiractions.ManymembersoftheHomebrewComputerClubwerealsohackers,anditwasthesynergybetweenDIYmotivesandhackingwhichproducedtherstApplecomputer(Wozniak).ThinkingoutsideoftheboxcomesnaturallytotheDIYpractitionerastheyvealreadyeschewedtheboxforwhateverelseliesoutsideofit.2.2HackingOriginallymeanttodenoteelegantprogrammingshortcutandelaboratepranks,hackinghasevolvedtoencompassanymodicationtoanobjectorexperienceinamannernotoriginallyintended.Whilethepursuitofhackingismostlyrec-reational,manyoldschoolhackersalsooperatedwithacodeofethicswhichsupportedopenaccess,freeinformation,sensitivitytobeautyandart,andthepowerofcomputerstochangeoneslifeforthebetter(Levy2002).Fromtheedgyworldofphonephreaking(MungoandClough1992)tocontemporarytomesdetailinghowtoalteraPS2Playstation(Mitnick2004)hackingcelebratesthejoyofacquiringknowledgeandndingsolutionsfortheirownsake.Interestinglythepursuitofsomethingforitsownsakehasbeenidentiedasakeyelementoftheautoelicexperience,orowstatewhichischaracterizedbyintenseconcentrationandlossofself-consciousness.Withinthisstateanindi-vidualexperiencesanoptimalexperiencewhichischallengingyetextremelysatisfying(Csikszentmihalyi1990).Inthisenvironmentwherechallengemeetsskillandrewardisintrinsictotheactivityathand,judgment-basedvaluesonthemeritofanactivityordesigncomenotfromahigherauthority,butfromtheactionitselfandacknowledgementfromonespeers.2.3PopularcultureTheDIYenthusiastandhackersharecommonalities.Bothapplytheirskillsandeortstopersonallysatisfyingactivitieswhichbringenjoymentfortheirownsake.Additionallythereisasenseofslymasteryandempowermentthatcomesfromtheirirreverentactions.Inthe1980sand1990saslewofmoviesWargames,Sneakers,RealGenius)andtelevisionshows(MacGyver,A-Team celebratedresourcefulmistsabletocombinestreet-smartswithexpertise.InthecurrentdecaderealitytelevisionhasfoundawinningformulainshowslikeJunkyardWarsandtheBritishcounterpartScrapheapChallengewhichpitordinarypeopleonmultidisciplinaryteamsagainsteachtobuildthebestma-chineoutofcast-oparts.WiththeriseoftheInternetandtechnologycom-panies,thegeekethicofhackersandeccentricself-startershasrenewedcachet,whichresonateswellwithyouthcultureandextremesports.Beinghardcoreorsingularlydedicatedtoonespassioncanbecoolwhetherthroughcreativeengineeringorgravity-defyingfeatsofskill.3ScrapyardprinciplesKeepingtheinspirationmentionedaboveinmind,theScrapyardChallengedevelopedalongthefollowingconstraints:(1)limitedtimeframe(2)foundmaterials(3)simpleinput/output(4)cheaphobbyistelectronics.LimitedtimeframeTocreateasenseofurgencyandalsotosustainahighlevelofenergy,alimitedtimeframeisimposedupontheworkshop.Usuallythetimelimitisslightlylessthatwhatisnecessarytofullycompleteaprojectorpro-totype.Withalimitedtimeframe,participantsdonothaveenoughtimetoexcessivelyxateondetailswhichareextraneoustotheirdesign.Thisservesasmotivationforunconventionalsolutionswhichmaynotbeconsideredunlessunderduress.FoundmaterialsTheScrapyardChallengeslooktothematerialscollectedandfoundinaparticularplaceasthestartingpointfortheprojects.Eachworkshopattemptstoincorporatelocally-specicelementsofthelocationwheretheworkshopisheldintotheexperience.(Forexample,therstMIDIScrapyardchallengewasheldinanabandonedwarehousewherethejunkcollectedon-siteservedastherawmaterialsfortheworkshop.)Foundmaterialscanbeseenasaquestionfortheparticipant,whichmustbeansweredthroughresponsetothespecicaordancesanddesignconstraintssuggestedbytheobject.Simpleinput/outputTokeepthefocusoninteractiondesignandtheapplica-tiondomain,computationalbehaviorislimitedtosimpledigitaloranaloginputandMIDIserialoutput.Theuseofbasicelectroniccircuitsallowsparticipantstofocusondevelopingtheirprototypeandkeepsthetechnicallearningcurverequiredtoaminimum.Withinaclearlydenedtechnicalconstraint,applica-tion-basedinnovationcanourish.CheaphobbyistelectronicsAlltheelectroniccircuitsusedintheworkshopcanbebuiltorpurchasedfromelectronicshobbyistsuppliers.Thisisakeyaspectoftheworkshopwhichprovidesavenuesforparticipantstocontinuelearningaftertheworkshophasended.Informationontheelectronicsusedintheworkshopisprovidedinafollow-upemailtoparticipants.Hobbyistsuppliestendtohelpkeepcostsdownandthelargelevelofsupportanddocumentationforthemorepopularhobbyistmicrocontrollers(suchastheBasicStamp)ensuresthatinterestedparticipantswillndadditionalguidanceshouldtheydesiresuch. 4SystemsetupTheScrapyardChallengesutilizebothcustom-madeinput/outputboxesandcheappurchasedpre-assembledelectronicshobbyistkits.Thecustommadeinput/outputboxesarebuiltwithaBasicXmicrocontrollerandareconguredtoacceptdigitalandanaloginput,withoutputsettoMIDIviaserialtrans-mission.AMIDI-ManUSBserialinterfacepassestheMIDIdatasentoutbythecircuitstoalaptoprunningthebuilt-inoperatingsystemsoftwaresynthe-sizertogeneratesound.Thehobbyistkitscanbefoundatanyelectronicsre-tailerandgenerallysellforlessthan20USdollars.Thetypesofkitsusedmightincludesimplerecordingandplaybackmodules,solarbatterykits,andLEDmodules.Atthebeginningofeachworkshop,thegroupofparticipantsintroducethemselvesandeachpersonprovidesabriefdescriptionoftheirreasonforattendingandwhattheyhopetolearn.Basicelectronicconcepts,suchasdigitalinput(switches),analoginput(dialsandsliders),conductors,insulatorsandbothxed,andvariableresistorsareexplainedtotheparticipantsalongwithbasicsafetyissuesandprecautionsthatshouldbeobservedregardingelectricityandsoldering.Participantsaregivenaxedamountoftimeinwhichtocreatetheirobject.Usuallythisislimitedto5h.Theyaregiventheoptiontoworkaloneoringroups.Whiletheworkshoptakesplacetheauthorsareonhandtoanswerquestionsandprovideassistance.Theatmosphereisatelier-like(Fig.Aftertheallottedtimehaselapsedwegatherallindividualsandprojectsregardlessoftheirstateandbegintoorganizeforpublicpresentation.Thetypeofpublicpresentationvariesdependingontheworkshop.Regardlessoftheformthepublicpresentationtakesindividualsarealwaysgiventheopportunitytopersonallyshowtheirprojectandtakecreditforwhatwasaccomplishedinsuchashorttimeframe. Fig.1AtypicalScrapyardChallengeenvironment 5WorkshopdetailsAsdescribedaboveeachvariantoftheScrapyardChallengesharesthesamegeneralformat,yetdierencesinthefocusandmaterialsineachworkshopchangesaccordingtotheneedsofthetopic.5.1MIDIScrapyardChallengeTheMIDIScrapyardChallengeistherstoftheScrapyardChallengesandhasbeenheldinvedierentcountriesonthreeseparatecontinents.IntheMIDIScrapyardChallengeworkshopparticipantscreatemusicalcontrollers.Allmaterialsusedareeitherfoundwithinthecityinwhichtheworkshopisbeingheld,orbroughtbytheworkshopparticipants.Typicallythereiscollaborationwithalocalsoundartistwhocoordinatestheperformanceattheendoftheworkshopandeachparticipantisgiventheopportunitytopresentanddem-onstratetheircontroller.Thefollowingobjectsareaselectionofcontrollers,whichweredevelopedinaMIDIScrapyardChallenge,heldinBerlin,Germany.IngeneralmostoftheMIDIScrapyardChallengeresultstendedtodividebetweenanaloganddigitalcontrollers.Someparticipantshowever,completelyignoredtheMIDIaspectoftheworkshop(whichwouldbeinkeepingwiththeDIYspiritoftheexperience)andmadetheirownpercussivemusicalmachines.5.1.1Yes/noshakinghelmetAhelmetthathasmetaljointswhichswingbackandforth.Dependingonwhichdirectiontheheadismoving(forward/backwardorleft/right)oneoftwoswitchesarecompleted,causingalternatingtonestoplay(Fig. Fig.2Theyes/noshakinghelmet 5.1.2BeatscratchingharddriveThebeatscratchingharddriveisadiscardedcomputerharddrivewithtwowirestapeddownontotheexposedmetal.Decalstickermaterialwascutouttoexposeonlytwolinesofmetal,whichcompletesaswitchwhentheharddriveisspun.Theresultisascratchingbeatmachine(Fig.5.1.3AutobeatsTheautobeatsmachineusedanoldprintermechanismmountedontoametalplatetoproduceasetofrhythmicbeats.Themetalplatewascoveredincast-ostickerdecaltoblockoconnectionsatcertainintervals.Whenthemachinewasactivatedtheprintermechanismslidbackandforth,andplayedthedrumbeatrhythmically(Fig.5.1.4SoundscarfThesoundscarfisalongstrandofxedresistorsstillintheirpackagingandawand.Wiresareattachedtotheendsoftheresistorsandtothewand.Movingthewandoverthescarfproducesadigitalinputandseriesofnotes5.1.5BottleviolinThebottleviolinisconstructedoutoftwowires.Onewirecontainsvexedresistorsofvaryingresistanceplacedinseries.Theotherwireisunmodied.Alongpieceofplasticenclosestheunmodiedwire,andkeepsthetwowiresseparated.Whenthewiresareimmersedintoabottlecontainingaliquid(water)thewiresshortatdierentpoints,creatingachangeinresistancewhichalters Fig.3Thebeatscratchingharddrive thepitchbendofanote.Aparticipantwithnopriorelectronicsexperiencedevelopedthisproject(Fig.5.1.6SpeakerstringThespeakerstringusesthepiezoelectricelementofaspeakerasananaloginput.Acast-oarmatureforadesklampwasmountedoverthespeakerandwirewasstrungbetweenthearmatureandthespeakerandsecuredwithhotglue.Whenthestringisplucked,itagitatesthepiezoelectricelementinthespeaker,creatingananaloginputandaltersthepitchbendofanote(Fig. Fig.4.Theautobeatsmachine Fig.5Thesoundscarf 5.1.7WashboardprinterThewashboardprinterisaprintermechanismwithawashboardbacking.Athickmetalwireprotrudesfromtheprintermechanismandscratchesthewashboard.Theprintermechanismcanbecontrolledtoscratchbackandforthalongthefullrangeoftheprintermechanism(Fig.5.1.8RotatingscratchmachineTherotatingscratchmachineisasimplemotorattachedtoabattery,whichslowlyspinsasmallwoodenplankoverawoodbox.Theendsoftheplankarecoveredindiscardedmetal,whichscrapesoverothermetalelementsaxedtothebox.Theresultisarhythmicrepeatingbeat(Fig. Fig.6Thebottleviolin Fig.7Thespeakerstring 5.2DIYwearablechallengeTheDIYwearablechallengefollowsthesameformatastheMIDIScrapyardChallenge,butexploreswearabletechnologyandfashioninsteadofmusicalcontrollers.Movingawayfromahigh-techaestheticandtowardsaliteralandmetaphoricinterpretationofstreetweartheDIYwearablechallengeusesscrapfabric,hobbyistkits,andconductivethreadandfabrictocreatewearabletechnologyinabout5h.Oldclothes,oftenrecycledordiscardedareprovidedforparticipantstotakeapartandrecombineintonewgarmentsandaccessories.Thepresentationattheendoftheworkshopisafashionshowwhereeachparticipantmodelsanddemonstratestheircreation. Fig.8Thewashboardprinter Fig.9Therotatingscratchmachine TheDIYwearablechallengeresultsshowedbothwhimsicalintegrationoftechnologyintogarmentsandclothingwiththepotentialtosupplementsocialinteraction.SelectionsofprojectsfromtwoDIYwearablechallengesheldinTallinn,Estoniaaredescribedbelow.5.2.1FMjacketTheFMjacketisconstructedoutofanFMradioreceiverthathasbeenhackedapartandintegratedintothejacket.Intheplaceofwiresconductivethreadsandmaterialsareusedtocompletetheelectricalconnections.Throughtouchingtwoconductiveelementsonthejackettogetherthewearercanselectdierentradiochannels(Fig.5.2.2RecongurabletrenchcoatAtrenchcoatismodiedwithconductivefabricandlight-emittingdiodes(LEDs)sothatanLEDbroochdisplaysadierentstatebasedonthewearersphysicalmovementsandhowthegarmentiscongured(openorclosed,tiedtogether)(Fig. Fig.10TheFMjacket Fig.11Therecongurabletrenchcoat 5.2.3GossiphatTheGossiphattakesanaudioamplierkitandplacesthemicrophoneatthebackofthehead,whileanordinarysetofheadphonespeakersareintegratedintothehat.Thebonnetallowsthewearertohearwhatishappeningbehindthem(Fig.5.2.4Mother/childouttThemother/childouttsarecomprisedofapairofwomenspantsandababyjumper.Conductivefabricwassewnontothelapofthepantsandoverthehands,feet,andseatofthebabysgarment.Duringplaywithababyamotherwouldbeabletotriggervarioussoundsdependingonhowthechildwasposi-tionedonherlap(Fig. Fig.12Thegossiphat Fig.13Themother/childoutt 5.2.5IntimatewhisperdressTheintimatewhisperdressallowstheprivatemessagerecordedbyalovedonewhiledressingtobeplayedbackthroughouttheday.Thedresswascreatedbymodifyinganexistingskirtwhichwaswiredtocloseaswitchwhenthezipperwaspulledup.Atthetimethezipperisclosedthepersondressingtheirlovedonecanwhisperanintimatemessagetothepersonandaspeakerplacedattheshoulderofthedresswillreplaythemessagethroughouttheday(Fig.5.3HackingthestreetHackingthestreetveersslightlyfromthebasicformatofthepreviousScrapyardChallenges.Ratherthanacquiringcast-omaterialsbeforethebeginningtheworkshop,theauthorsexplicitlyaskedparticipantstogooutandndmaterialstobringbacktotheworkshopspacewiththeunderstandingthattheywouldmodifytheseobjectsbeforeredeployingthemintheeld.Participantswereaskedtolocateandtransposetheirenvironmentthroughobservationandmappingthesiteoftheirpublicinterventioninadditiontocreatingtheirobject.Thisincreasedthetotaltimeoftheworkshop,whichwasheldover2days.Inlieuoftravelingtothesitesoftheinstalledworksthepublicpresentationusedphotographicdocumentation.Resultsfromhackingthestreetrangedfromthepersonaltotheexplicitlysocial.Someparticipantschosetocreateobjectsfortheirownenjoyment.Otherparticipantschosetodesignforimaginedgroupswhosetraceshadbeenleftattransitionpointsorin-betweenspaces.Participantstendedtoworkingroups.5.3.1RovingbicyclemusicArovingmusicalbicycleinstrumentmadeoutofcast-obicyclepartstooktheremainsofstolenandforgottenbicyclesandturnedthemintoalivelysculpturalpiecethatcouldbeeasilymovedtodierentlocations(Fig. Fig.14Theintimatewhisperdress 5.3.2JunkyardwaterfountainUsingscrapaluminumsidingandcopiousamountsofplastictapethejunkyardwaterfountainplayedmusicaltones(Fig.5.3.3SafetynoticesforpublicspacesArepurposedsmokealarmdeliverednoticesofpublicsafetyinaclandestinemeetingspot(Fig.5.3.4SpacetunerAlamprescuedfromthetrashwascombinedwithapotentiometertocreateadevicewhichwouldtransposetheauralpropertiesofcrowdedandsecludedspaces,shiftingthesonicambience(Fig. Fig.15Rovingbicyclemusic Fig.16Junkyardwaterfountain 6DiscussionManyoftheprojectsineachoftheseworkshopsremainedunnishedorintheearlyprototypestage.Buttheintentwasnottocreatenishedpieces,ratherthantoletthespontaneityofthemomentandmaterialsathandprovidethecreativeworkingconstraints.Whileeachworkshopgeneratedinnovativeideaswithintheirownactivitydomain,thereweresimilaritiesintermsoftheskillsactivatedwithintheworkshopexperience Fig.17Safetynoticesforpublicspaces Fig.18Thespacetuner 6.1UseofmaterialsInalloftheworkshops,participantsshowedaninnovativeresponsetothematerialsathand.WithintheScrapyardChallengeenvironment,theaordancesandmaterialpropertiesoffoundobjectsservedasabaselineconstraint,groundingparticipantambition,butremainingopentodesignobjectives.Eachindividualwasfreetorespondtoandrecombinethematerialsintheirownway.AnexcellentexampleofthismightbetheBottleViolin,whichwascreatedduringaMIDIScrapyardChallenge.Usingonlytheelectricalprinciplestaughtintheworkshopthisindividualre-imaginedanordinarybottleintoanexpres-siveanalogcontroller.Theentireprocessactivatedtheabilitytorepurposefoundobjects(anemptyplasticbottle,discardedxedresistors,andathinplasticstripcutfromapieceofpackaging)andconstructthemintoanewartifact.Thisisapowerfulexperienceforindividualswhohavehadlittleexposuretoelectronicsandphysicalcomputing.Forindividualswithpriorexperiencewithinteractivedesign,experiencinganalternativeinstinct-drivenwayofworkingstimulatescreativity.AnexampleofthismightbetheBeatScratchingHardDrivewhichusedadiscardedcom-puterhard-drive,stickerdecal,andwirestocreateabeatmachine.Averysimpleandeasytomakecontroller,neverthelessatrainedindividualmightnotusuallybeginwithdiscardedjunkasastartingpointforaproject,insteadrelyingonstandardizeddesignmethodologyorabottom-upelectronicsdevelopmentap-proach.ThevalueoftheScrapyardexperienceforsuchanindividualcomesfrombreakingtherulesinordertoencouragementalandcreativeexibility.6.2ImaginingalternativesAnotheradvantageoftheScrapyardenvironmentistheabilitytoengageavarietyofindividualsinadesignprocessfromwhichtheywouldnormallybeexcluded.Asdiscussedinprevioussectionsofthispaper,mostindividualsinterestedinphysicalcomputingandinteractivedesignmustscalesteeplearningcurvesinordertobegindevelopingcreativeprojectsinahands-onmanner.TheScrapyardChallengeworkshopsallowthenoviceandbeginnertoreadilybegindesigningandprototyping,openingthepossibilityforpreviouslyunimaginedalternativeapplicationstoemerge.WithintheDIYWearableChallenge,manyparticipantscamefromback-groundswithnoelectronicsexperience,yetshowedsensitivitytothedelicaterelationshipbetweenthephysicalandsocialbody.Agoodexampleofthisis,theIntimateWhisperdressdescribedintheprevioussection,whichusedacast-oskirtandahackedhobbyistelectroniccircuitasthebasisforitsdesign.Theskirtwasrepurposedasadress,andthezipperwasconstructedasanon/oswitchtotheelectroniccircuit.Duringtheactofdressinganindividualapersoncouldwhisperapersonalmessageintothedresswhichthewearercouldthenreplay.Theendresultisagarmentwhichmanagestoarticulatethehistoricalandcontemporarysocialpotentialimplicitintheperformativeactofgettingdressed.Thoughtheprototypeofthegarmentwascrude,theconceptwashighlysophisticatedandcouldeasilyberenedandimprovedatalaterdate.Inatraditionaleducationalsetting,anindividualwouldrsthavetospendalengthytimelearningelectronicsbasics,orbecontenttoworkwith non-electronicbasedmaterialstodeveloptheirideas.WithintheScrapyardenvironment,participantsareabletojumpdirectlyintocreatingworkingpro-totypes,whichcansetthefoundationformorestructuredlearninganddesignactivitylater.Duringtheworkshopnojudgmentispassedonthevalueormeritofadesignorobject,yetcriticalevaluationcancomelater.Asaneducationalthirdplace(Oldenburg1999)theScrapyardChallengeprovidesneutralground,whereeachparticipantregardlessofdisciplinarybackgroundandtrainingisfreetoexperiment.6.3InvestedpractitionersInadditiontotheobservationspreviouslynoted,theScrapyardChallengepro-videstheopportunitytoexploreseveralimplicitissuescontainedwithintheworkshopexperience.Amongthesearecritiquesofthrow-awayculture,andtheunevendistributionofknowledgeandpracticeintechnologyandartseducation.ThelargeamountofwastecollectedforaScrapyardworkshoppresentsanexcellentopportunitytodiscusstheneedforproperrecyclingandsustainabledevelopmentforthetechnologyindustry.Alsointerestingistheopportunitytoemphasizethetensionbetweenlocalandglobalowsofgoodsandservices,whichcontributetotheparticulartypeof,refusefoundindierentcitiesorregions.WhileclassessuchastheMITMediaLabsHowtoMake(Almost)Anythingfocusoncreatingtechnologiesfromscratch(andrequirelargeinfrastructureandsophisticatedequipment)aScrapyardChallengeapproachoperateswithlowcostsandminimalresources.Whilesurelynotastechnicallyimpressive,theScrapyardChallengestillprovidesthenecessaryenvironmentinwhichdesign,analysis,andknowledgesharingcantakeplace.Theresultingprototypes,whilenotpolished,stillshowgreatcreativityandpromise.ThelanguageoftheScrapyardexperienceborrowsfrompopularcultureandlowart.Whilethejargonandspecializedknowledgerequiredforuencywithinanartsandtechnologysettingmightintimidatenewcomers,theScrap-yardChallengefamiliarizestheexperienceofphysicalcomputingandinterac-tiondesignintoaculturalcontextthatmanycaneasilyrelatetoandunderstand.Throughcapitalizingontheethicsandactionsofsubversivegroupsthework-shoptransmitsthesevaluesintoanopenyetstructuredenvironmentwhereexperimentationismadesafe.Thenon-judgmentalnatureoftheworkshopandtheemphasisonprocessratherthanproductallowsindividualstoplaytheroleofacondentexpertwhoseresourcefulnessandabilitytocreativelyre-imaginematerialsprovidesitsownreward.Fornoviceswhohaveneverworkedwithelectronics,thesatisfactionofcreatingamusicalinstrumentoutofadiscardedspeaker,abrokendesklamparm,twine,andhotglue,carriesasenseofaccomplishmentandthrill.Fortheadvancedparticipant,ingingawaythebestpracticesadvocatedbyadiscipline,andtinkeringforenjoymentprovidesawelcomecreativebreakfromthestatusquo.7ConclusionandfutureworkRecentexperimentsinincorporatingtheScrapyardChallengeintoeducationalsettingshaveyieldedinterestingresults.InaclasstitledElectronicsPlay- ground,elementsoftheScrapyardexperiencewereintegratedintotheclasssyllabus.Activitiessuchasre-mappingtheinteractionofanon-electronicobjectandtheactualMIDIScrapyardChallengeitselfwerepairedalongmoretradi-tionaleducationalapproachessuchaslecturesandtechnicallabs.Whilethispaperwillnotdiscusstheclassproleatlength,initialimpressionspointtotheneedtoaddressthebalancebetweentheuncheckedenthusiasmgeneratedbytheworkshopandthesustainedenergyneededtoengageinacontrolleddesignprocess.Supplementaryactivitiesmustencouragefocusedattentionanddirecteddevelopment.WithinaclassroomsettingtheScrapyardfunctionsbestasanearlywarm-up.Onceparticipantshaveacondensedexperienceofthedesignprocess,furtherexplicationcanproceedatamorestandard(schoolsemesterorquarter)curricularpace.Futureversionsoftheworkshopmightincludedierentiationintootherareaspreviouslysuggestedsuchassustainabledesignandrenewableenergy.Expan-sionsoftheworkshops,toincludelengthiertermsofengagementaswellasincorporationintootherclassesarepossibledirections.Inthefall2005semester,avariationoftheDIYWearableChallengewillbeincorporatedintoaclasstitledSocialFashioningatParsonsSchoolofDesign,whichwillfocusonfashion,technology,andsocialrelationships.ItisalsoencouragingtoseeotherclassessuchasSystems(currentlytaughtattheInteractiveTelecommunicationsProgramatNewYorkUniversity)begintoemergewithasimilarorientationtowardscast-oelectronics.Inacademiccircles,hackabilityindesignisdrawingincreasedattention(Gallowayetal.).IncombinationwithgloballyorientedandsociallyresponsibledesignendeavorssuchasHowStuisMadeaScrapyard-basedcurriculumcouldprovetobeacompellingcomponentofadesignandtechnologyartscurriculum.Whilenotadvocatedasacompletedesignmethodology,theScrapyardap-proachallowsforuidityandintuitiveresponsetoonesmaterialsandenvi-ronment.Asevidencedbytheworkshopswhichhaveruninternationallythereisvaluetotheapproachwhenappliedwithinanartandtechnologysetting.AsacomponentofastructuredclasssyllabustheScrapyardprinciplesandmeth-odologymayprovebeapowerfulandexibleassetwithinalearningenviron-8LinksBasicStamp:http://www.parallax.comBasicX:http://www.netmedia.comElectronicsPlayround:http://www.personaldebris.com/playground/EZIOboard:http://www.ezio.com/Handyboard:http://www.handyboard.com/HowtoMake(Almost)Anything:http://www.fab.media.mit.edu/HowStuisMade:http://www.xdesign.ucsd.edu/howstusmade/LegoMindstorms:http://www.legomindstorms.comScrapyardChallengeWorkshops:http://www.scrapyardchallenge.com/Systems:http://www.stage.itp.tsoa.nyu.edu/tvh204/systems/index.htmlTeleo:http://www.makingthings.com/teleo.htm 9AbouttheauthorsKatherineMoriwakiisanartistandresearcherinvestigatingclothingandaccessoriesastheactiveconduitthroughwhichpeoplecreatenetworkrela-tionshipsinpublicspace.ShereceivedaMastersfromtheInteractiveTele-communicationsProgramatNYUandwasformerlyaDesignFellowatParsonsSchoolofDesignwheresheco-developedandtaughttheground-breakingcollaborationstudioFashionableTechnology.CurrentlyaPh.D.CandidateintheoftheNetworksandTelecommunicationsResearchGroupatTrinityCollegeDublin,herworkhasappearedinIEEESpectrumMagazine,andnumerousfestivalsandconferencesincludingnumer.02atCentreGeorgesPompidou(02),Ubicomp(03,04),Transmediale(04),CHI(04),ISEA(04)andArsElectronica(04).Sheisa2004recipientoftheAraneumprizefromtheSpanishMinistryforScienceandTechnologyandFundacionARCO.JonahBrucker-Cohenisaresearcher,artist,Ph.D.candidate,andHEAMMRPfellowintheDisruptiveDesignTeamoftheNetworksandTelecom-municationsResearchGroup(NTRG),TrinityCollegeDublin.Heworkedfrom2001to2004asaresearcherintheHumanConnectednessGroupatMediaLabEurope.HereceivedaMastersfromtheInteractiveTelecommunicationsProgramatNYUandspent2yearsthereasanIntervalResearchFellowcre-atinginteractivenetworkedprojects.HisworkandthesisfocusesonthethemeofDeconstructingNetworkswhichincludesprojectsthatattempttocriticallychallengeandsubvertacceptedperceptionsofnetworkinteractionandexperi-ence.Heisco-founderoftheDublinArtandTechnologyAssociationandarecipientoftheARANEUMPrizesponsoredbytheSpanishMinistryofArt,ScienceandTechnology,andFundacionARCO.HiswritinghasappearedinnumerousinternationalpublicationsincludingWiredMagazine,GIZMODO,Rhizome.org,Print,andI.D.magazines.HisworkhasbeenshownateventsandvenuessuchasDEAF(03,04),UBICOMP(02,03,04),CHI(04)Transmediale(02,04),ISEA(02,04),InstituteofContemporaryArt(ICA)inLondon(04),WhitneyMuseumofAmericanArtsArtPort(03),ZKMCenterforContem-poraryArt(04),ArsElectronica(02,04)andothers.TheauthorsaregratefultotheUniversityofDublin,TrinityCollegeandtheNetworksandTelecommunicationsResearchGroup;Dr.LindaDoyleforencouragementandguidance,andMarieRedmondforhercontinuedsupport.SpecialthanksmustgoouttoalltheparticipantsoftheScrapyardChallengesandthemanyindividualsandinstitutionswhohavemadethoseworkshopspossible.AokiS(2001)Fruits.PhaidonPressCsikszentmihalyiM(1990)Flow:thepsychologyofoptimalexperience.Harper&RowGallowayA,Brucker-CohenJ,GayeL,GoodmanE,HillD(2004)DesignforHackability.In:Proceedingsofthe2004conferenceondesigninginteractivesystems:processes,practices,methods,andtechniques(DIS04).ACMPress,pp363 366GhazalaR(2005)Circuit-bending:buildyourownalieninstruments(ExtremeTech).Wiley,NewYorkLevyS(2002)Hackers:heroesofthecomputerrevolution.PenguinBooksLtd,MitnickK(ed)(2004)Hardwarehacking:havingfunwhilevoidingyourwarranty.Syngress MungoP,CloughB(1992)Approachingzero:theextraordinaryunderworldofhackers,phreakers,viruswritings,andkeyboardcriminals.RandomHouseOldenburgR(1999)Thegreatgoodplace:cafes,coeeshops,bookstores,bars,hairsalons,andotherhangoutsattheheartofacommunity.Marlowe&CompanySpencerA(2004)DIY:theriseoflo-culture.MarionBoyarsPublishersLtd.,WozniakS(1984)In:DitleaS(ed)Digitaldeli:thecomprehensive,user-lovablemenuofcomputerlore,culture,lifestylesandfancy.WorkmanPubCo Reproducedwithpermissionofthecopyrightowner.Furtherreproductionprohibitedwithoutpermission.