Música, compartilhamento e mobilidade nos metrôs de Londres.
Sistema alia telefones celulares, leitura e vivência do espaço do metrô e mobilidade. O projeto “Undersound” permite que usuários façam uploads de músicas para o sistema e depois possam baixar músicas deixadas por outros usuários no metrô, com identificação das estações, inclusive.
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“Not all subways are created equal. What if technology designers recognized this fact and attempted to create an interface that took a deeper look at what being mobile means to each of us? What if they tried to reflect and enhance your sometimes conflicting, but always meaningful and situated, experiences? What if they designed for your underground? They did. They created undersound.
undersound is a new type of experience, an interface that is on your mobile phone and in the underground stations you pass through every day. It is part personal, part public and all about the tube. undersound is a way of listening to, distributing and affecting the flow of music in the underground that goes beyond just the music itself. It allows you to see your journeys, the people around you, and the tube itself in a new light. There are three key aspects of life underground that we tapped into in the design of undersound.
undersound will be spatially distributed at individual stations and throughout the wider tube network. I can add music to the system at upload points in the ticket halls , and I can download tracks on the platforms. Architectural configuration of the stations affects my experience of contributing and downloading music as the proximal nature of the interaction with these situated points require s myself and other undersound users to congregate at certain locations within the station for the purpose of interacting with the system.
Each track in the undersound system will be tagged with its place of origin (the station where it was uploaded) and this information is visible as the track is being played. This may trigger memories and musings around my personal relationship to that place. Is there also a correlation between the flow of people around the tube network and the flow of music tracks around the undersound network? What might a sense of place for these digital artefacts be? Do they care about geographical location too or might their sense of place revolve around the quality and type of network and the technological devices they pass through?”