This is the site of artist and researcher Michael Johansson. Born in sweden, educated in Denmark; Royal academy of fine arts mst of my professional life I have worked in the area of space and spatial creation and lived abroad in China from 2007-2014 which gave me many new perspectives. Since 2011 I am Artist and Associate professor in digital media at Kristianstad University. On this blog  I gather and present all of the different projects and interests of mine and try to establish a overview of, and access my work.

In my own practice, I always had a very close relationship with the material that I have used for investigating and executing my ideas. In all my works, no matter what stuff I have chosen for its realization, the establishing of a ‘substantial’ dialogue has been of uttermost importance. There should be no difference between the critical mass of the idea and the final outcome, the artwork as such, but an interwoven unity between theoretical and formal matter. Since 1984, the computer has played a major role in enabling precisely that.

In my art practice and research I have since 2005 started to connect and shape a model for something called “a different story”. This brings together artistic expression in every form, interaction design and computational models into a common framework. Since it is a complex an in depth multi and cross disciplinary effort it has taken a lot of time putting this forward for me, and it´s still in the making. You can follow the development here on the website in several of the articles.
When I started to move away from mostly painting I got an interest in other tactile and sensory activities – food and wine, cooking and wine tasting. What i like about this is that when it comes to wine there is a language for talking about taste which is not very common in other areas, it brings together practice with knowledge in a social context. Cooking and the art of writing and reading recipes, executing and reflecting in often complex and technical advanced use of kitchen equipment. This is very similar how I go about working with my own works of art. A lot of hands on experiments, parallel reading and knowledge seeking and finally a description of how to conduct the artwork itself described as a recipe or algorithm.

Christel Lundberg

Exempel 2 “PhotoRun”

You are paparazzi photographers, each eager to prove yourselves worthy for a job opening at a newspaper office on Fleet Street.

Your task is to secretly photograph the other members of your group, using stealth and cunning (hiding in coffee shops, travelling on buses and wearing disguises are all allowed) – without being photographed yourself!

The mission begins at a set time, with no meeting up beforehand. You have an hour to complete the task. The first to capture all the other players on camera wins the game!

Länk till spelet här, kanske något att testa under någon timme i respektive designteam, hur skulle detta kunna spelats på nätet, kanske att hitta bilder eller information av de andra i laget utifrån några kriterier som kanske kan poängsättas på olika sätt.

Exempel 7 Play the City

I detta exempel används ett fysiskt spel för att skapa förändringsprocesser i olika städer. Fundera kring hur detta skulle kunna göras i mer mobil kontext. Hur skulle T från  pactanalysen kunna lyftas in och vad skulle det göra med de andra tre P, A och C?

Play the City uses gaming to engage multiple stakeholders in resolving complex urban challenges.

Changing the way we engage stakeholders, Play the City designs physical games as a method for collaborative decision making and conflict resolution. We tailor our games according to the questions of our clients. These can relate to large urban projects, refugee camps, violence prevention and other multi-stakeholder challenges societies face.

We use gaming as a problem-solving method bringing top down decision makers together with bottom up stakeholders. In the accessible environment of games, freed from the jargons, various ideas, plans and projects meet, conflict and collaborate towards negotiated outcomes.

We believe gaming is the real alternative to standard formats of public consultation in the 21st century. Our method has been acknowledged internationally and has been implemented for large-scale projects in Amsterdam, Istanbul, Brussels and Cape Town. You can gain more insight by clicking our projects page.

Exempel 10 A Machine To See With

Sista exempelt  hämtar vi från en väletablerad aktör Blast Theory. Projektet är från 2010 och heter A Machine To See With.


“A Machine To See With is a Locative Cinema commission from the Sundance Film Festival, 01 San Jose Biennial and the Banff New Media Institute. It was created between January and September 2010 and premiered in San Jose on 16th September.

It is a film where you play the lead. You sign up online and hand over your mobile phone number. On the day, you receive an automated call giving you the address you need to go to. Once you arrive on your allotted street corner your phone rings. From there a series of instructions lead you through the city. You are the lead in a heist movie; it’s all about you. As you move from hiding money inside a public lavatory, to meeting up with a partner in crime and onwards to the bank, the tension rises. It’s up to you to deal with the bank robbery and it’s aftermath.”

Exempel 3, 4 och 5

I exempel 3, 4 och 5 går vi tillbaka i tiden omkring 10 år och ser på några exempel där mobilt spelande utmanade den teknikens nya möjligheter tidigt. Fundera kring hur dessa olika exempel kan spelas med dagens tekniska förutsättningar, vilka kvaliteter hade ni behållit och vilken teknik hade ni baserat dem på idag istället, vad har förändrats?

Vi börjar med Conqwest

ConQwest is a Big Game in the evolving t

_new1.jpgradition of B.U.G. (Big Urban Game) and Pac-Manhattan. The gameplay was designed by Frank Lantz, with help from Mattia Romeo. Dennis Crowley designed and built the semacode system, based on Simon Woodside’s original idea and code. The game was conceived of and directed by SS+K, Kevin Slavin, Liz Cioffi and others . The promotional agency AMP was responsible for all the on-site implementation.


ConQwest from Roman Tsukerman on Vimeo.


exempel 4

Nästa spel heter Shoot me if you can och är gjort av  Taeyoon Choi in collaboration tillsammans med I&P media art team


Taeyoon Choi
52-4 Anguk Dong
Seoul 110 – 240
South Korea

Shoot me if you can is an urban game inspired by first person shooting online games. Replace gun with fun, and shoot the opposing team with a camera phone. Participants are given team color and phone number printed on a large sticker to put on their torso. If successful in taking a picture of the other team member, send the picture to the Flickr Moblog site, via simple MMS (Multimedia Messaging System) for it to count as a score.

Near ubiquitous network situation in Seoul and popular use of camera phone makes this project possible for a large number of players and possibly the general public present at the game site, as a form of flash mob. Players are virtually connected with each other and to the system, via mobile phone, while their physical body is present in a real space. Away from the conventional use of mobile phone as a two way communication, this project transforms the phone into a liminal object of the game with a metaphor of violent armor. Participants run and hide, doing best to avoid being photographed. Shoot me if you cangrants a reason to run around taking pictures of strangers; opposing team members. It is an artistic approach on counter attacking candid and surveillance camera. Opposing team member is like a surveillance camera that walks and thinks.

exempel 5

Sist är ett spel som heter noderunner

Yury Gitman, Carlos J. Gomez de Llarena

Noderunner is a game that transforms a city into a playing field. Two teams race against time to access as many wireless Internet nodes as possible. To prove that they have successfully connected to an open node, each team must submit photographic proof to the Noderunner weblog. During game play, the weblog becomes a busy scoreboard tracking the competing teams in real time. After the game, the photos provide visual documentation of the path taken by each team and public spaces that have free wireless connectivity.

Each four-person team was given a WiFi-enabled laptop, a digital camera, taxi fare, and two hours to get from Bryant Park in midtown to Bowling Green in Lower Manhattan, both free wireless parks. Teams earned points by taking their portraits in the exact spots where they were able to connect to wireless access points. They also earned points by using scanning software to sniff all the nodes along the way, even those that were password protected or too weak to transfer pictures. The teams collected logs recording hundreds of closed or weak nodes, but scored more points when they were actually able to use a node to upload a picture.

Exempel 9 Forensic Intimacy

Det nionde exemplet kommer från området för fotografi. Där de kartlagt icke-platser i stadsrummet. Fundera kring hur en applikation i mobiltelefonen skulle kunna uppmuntra användare och involvera dem i en liknande kartläggning.

Forensic Intimacy: A Digital Exploration of ‘Non-Place’

Jim Brogden
School of Design, University of Leeds, Leeds LS2 9JT, UK
Email: jim@jimbrogden.com
The intention here is to further promote the trans-disciplinary debate surrounding the urban ‘non-
place’, through several signposted arguments, each of which seeks to reveal the contestable nature of
‘non-place’, by discussing its relationship to the following key themes: identifi cation, childhood, cultural
valorisation, ‘new landscape’, anthropological space, the palimpsest, and digital re-presentation. This
study is supported by a selection of my most recent digital photographs, which investigate a specifi c
urban ‘non-place’ in the centre of Leeds, in the UK.

Exempel 6 Noise Battle

A Gamified application for Environmental Noise Monitoring in Urban Areas

Urban environments are places where changes occur at a quick pace. Collecting observations related to environmental factors, such as noise pollution, is crucial to monitor trends and changes in a city that can decrease citizens’ welfare. However, monitoring noise in cities through classical approaches has a high cost for local and regional governments. In recent years, mass-market mobile devices such as smartphones have started to incorporate several sensors, enabling countless measuring capabilities and becoming low-cost portable measuring devices. In our case, we use the microphone to collect environmental noise measurements. In this paper we present a novel approach to collect environmental noise data by developing a crowdsourced gamified mobile application. Our purpose is to encourage users to collect noise measurements with their personal smartphones so that other stakeholders can use these measurements in their analysis and decision making processes. This research presents a prototype to monitor environmental noise based on gamification techniques and outlines some possible analysis to obtain noise maps in cities.

Länk till projektet här


Midibaserad interaktion av digitala animerade karaktärer

Under denna termin har jag inlett ett samarbete med datorvetenskap på Malmö högskola. Där jag är uppdragsgivare och delvis handledare åt två studenter på 3:e året i programvaruteknik. Här ska vi bygga vidare på ett arbete som jag och mina kollegor på infobloom gjorde hösten 1999 och som handlade om att skapa mer bredbandig och nyanserad interaktion med digitala karaktärer.

1999 kom vi så långt att vi kunde styra karaktärernas grundläggande rörelse och spela in dessa i realtid. Det mest lyckade försöket var du vi överlagrade karaktärerna med nya rörelser i tex en gångloop och på det sättet artikulerade deras uttryck.

Under mitt arbete med kung fu design projektet på interaktiva institutet utvecklade gränssnittet till att inte bara omfatta ett midibord utan att även inkludera sensorer av olika slag och jag utvecklade och dokumenterade vilka typer av relevanta parametrar som passa att arbeta med i förhållande till manipulering av 3d objekt i realtid.

Nu fem år senare har möjligheterna att överlagra och koppla beteenden till karaktärerna som kan manipuleras i realtid utvecklats ytterligare. I och med att vi har en fungerade arkitektur i kommunikationen med vårt 3d system så blir fokus denna gång att underlätta kopplingen mellan karaktärens olika möjliga uttryck på ett enkelt sätt till det fysiska gränssnittet, samt att vi genom en typ av animations mixning ska utforska möjligheterna att i realtid styra karaktärernas uttryck mer nyanserat och precist.