Digital Creativity

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Introduction to Mobile ubiquity in public and

private spaces

Lily Díaz & Ulrik Ekman

To cite this article: Lily Díaz & Ulrik Ekman (2011) Introduction to Mobile ubiquity in public and
private spaces, Digital Creativity, 22:3, 127-133, DOI: 10.1080/14626268.2011.606819

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Digital Creativity
2011, Vol. 22, No. 3, pp. 127– 133
Introduction to Mobile
ubiquity in public and
private spaces
Lily Dı́aza and Ulrik Ekmanb
a
Department of Media, School of Art and Design, Aalto University, Helsinki,
Finland
b
Department of Arts and Cultural Studies, University of Copenhagen,
Denmark
lily.diaz@aalto.fi; ekman@hum.ku.dk
It has been more than fifteen years since Mark
Weiser’s and his Xerox Parc colleagues’ seminal
and trans-disciplinary work on a vision for a ‘calm’
and human-centred kind of ubiquitous computing
(ubicomp) for the twenty-first century. Although its
ongoing realisation is in a number of respects quite
different from the original vision, that vision is
now considerably more of an actual fact.
Its very realisation, as well as the differences, are
due in part to interim economic and technical
advances, such as affordable, multifaceted micro-
scale sensors and actuators and an expansion of
decentralised networking capacities via new Inter-
net protocol practices for the billions of compu-
tational entities worldwide, thus paving the way
for an adequate ubicomp infrastructure and an
actual Internet of Things. Partly, ubicomp has
become real in new and different ways because a
miniaturisation of components and a global cultural
acceptance in practice have permitted mobile wire-
less devices (such as mobile phones, iPods and
other MP3 players (Bull 2007), PDAs and Blackber-
rys, iPads, notebooks) to achieve an unprecedented
distributed pervasiveness—outnumbering humans
globally, perhaps only superseded technically by
embedded computational units.
Ubicomp infrastructures, stationary units and
mobile devices continue to form new hybrid plat-
forms, converging in ever-extending cultures of con-
nective systems available through wireless networks
ISSN 1462-6268 # 2011 Taylor & Francis
http://dx.doi.org/10.1080/14626268.2011.606819
http://www.tandfonline.com
as well as landline broadband networks—as in
current cloud computing initiatives. In its cultural
practices the resulting third wave of computing con-
tinues to permeate and break down traditional
modern boundaries of space and time, not least any
clear-cut distinctions of the near and the far, the
now and the past, the private and the public sense
of space and time (Augé 1995, Bogard 2007, Coleb-
rook 2004, Crang and Thrift 2000, De Landa 2007,
Dourish 2006, Featherstone 2008, Habermas et al.
2004, Lefebvre 2004, Lefebvre and Goonewardena
2008, Manovich 2006, Massumi 1995, Thrift
2008, Willams et al. 2005). Insofar as ubicomp
leads to a growing inherence or an immanence of
our life form, its technological platforms sink
deeper into the skin of human agency—often, if
not always, receding from conscious perception
and sensation into a peripheral background . . .
Since its early inception as part of the technol-
ogies being deployed through digital media,
ubicomp has led to remarkable alterations of our
ways of being in the world (Morley 2004). Combin-
ing with social and personalised mobile media, as
well as with physical tangible interfaces, ubicomp,
pervasive computing or ambient intelligence has
generated a flow of innovative technocultural devel-
opments saturating even the most innocuous activi-
ties of our everyday life: the time keeping of daily
routines; our communications with family, friends,
and colleagues; our performance in work-related
 Editorial
tasks as well as hobbies such as gameplay (Flanagan
Digital Creativity, Vol. 22, No. 3
2009, Galloway 2006, Hjorth and Chan 2009,
Montola et al. 2009); the management of personal
finances; our meetings and encounters in public
and private spaces and places; the sense and
sensation of cultural sites and memories; our
political acts and expressions of views; and even
the character of our work of mourning and our
bereavement following tragedy and disaster.
Yet considering the well-nigh global scope and
reach of these changes, there is still a relative
poverty of research in this young field, although
one must appreciate such efforts as Weiser’s
papers (Weiser 1991, 1993, 1994, Weiser and
Brown 1995, 1996, Weiser et al. 1999, 2005),
Hiroshi Ishii’s (1997, 2008) work on tangible
computing, the steadily growing list of conference
proceedings dealing with ubiquitous and perva-
sive computing (Anon 2011, Helal 2009, IEEE
Computer Society and University of Texas at
Arlington 2010), the specialised technical treat-
ments appearing not least with the Springer Press
(Hansmann et al. 2003, Steventon and Wright
2006, Streitz et al. 2007), Paul Dourish’s (2001,
Dourish and Bell 2007) and Mike Kuniavsky’s
(2010) work on ubicomp and human-computer
interaction (HCI), Malcolm McCullough’s
(2004) treatment of architecture and pervasive
computing, and the broad cultural theoretical
engagement by a great many scholars with the
implications of ubicomp for our form of life in
the Throughout anthology edited by Ulrik
Ekman (forthcoming). Thus, even though mobile
cultures have also seen a first valuable set of
studies of their own—(e.g. by Castells (2007),
Goggin (2006, 2008, Goggin and Hjorth 2009),
Hjorth (2008, Hjorth and Chan 2009), Ito (Ito
et al. 2005), Wajcman Wajcman et al. 2008),
Ling (2008)—one would like to solicit more and
better treatments of the import and implications
for everyday cultures of small mobile devices
(Hawt et al. 2008), as well as new physical inter-
faces such as touchscreens—specifically with
respect to their dynamic and ad hoc couplings
with ubicomp infrastructures.
This special issue emerges from activities
instantiated through ‘The Culture of Ubiquitous
128
Information’, a Nordic Research Network
devoted to the analysis and evaluation of ubiqui-
tous computing as a contemporary technocultural
development. As suggested by the title (‘Mobile
Ubiquity in Public and Private Spaces’), this
issue seeks to examine cultural formations, prac-
tices, processes and movements related to the pres-
ence and deployment of ubiquitous information in
the lived spaces and recesses of human culture
today. Some of the articles included are the result
of the workshop held in Helsinki (January 2011)
and an open call posted by the research network.
During the workshop, academics, artists,
designers and media theorists came together to
discuss topics such as: What is the character,
place and reach of the new interfaces and types
of interaction design for ubicomp? How do
social mobile media platforms mediate proximity
and intimacy? What do contextualisation and per-
sonalisation mean considering technical context-
awareness and individuals’ adoption of mobile
devices? What is the conceptualisation of agency
for creative individuals in a ubicomp culture, and
how is this agency transformed through collabora-
tive innovative work (Hemment 2006, Townsend
2006, Tuters and Varnelis 2006)? What different
worlds now come together in the practices of art
and design, especially with regard to the new
digital instruments? How do the multiple dimen-
sions of human experience, such as identity,
affect and emotion, sensation, perception, and
conscious expression and interpretation, find an
outlet in the mobile social experience?
Engaging with a contemporary information
culture that lives on with mobile computing and
mediation as part and parcel of a third wave of
post-desktop and post-graphical user interface
(GUI) computing, one is perhaps struck not
least by its creative processes of making new
digital artefacts, new types of (multimodal) inter-
action design (Jacko 2007), and new kinds of
information intensive environments. A case in
point is presented in ‘Mobile innovation: design-
ing and evaluating situated simulations’, where
the authors showcase the situated simulation (or
sitsim) as a new digital genre combining augmen-
ted reality with mobility in order to enhance our

perception of specific places. Both views from
the real world as well as the one generated by
the system are synchronised so that, as one
moves through the environment, the synthetic
computer-generated objects appear on the
screen of the mobile device in the same perspec-
tive as those of the real world. The essay also
showcases the design and implementation of
one of such systems in the cultural heritage
sector and highlights user experience research
through two case studies carried on at major
heritage sites, namely the Roman Forum and
the Parthenon in the Acropolis.
Contending from a critical perspective that car-
tography is an epistemic instrument that has been
used to make borders, mask differences, and
produce coherent identities, ‘Urban fictions: a
critical reflection on locative art and performative
geographies’ examines mapmaking practices in an
urban landscape. The authors propose that locative
art opens new forms of practice and knowing that
enable embodied participation and subjective
investigation. From an experiential perspective,
they argue, it should be possible to observe the dis-
sonance between location as data and location as a
lived negotiated place. The essay presents two ver-
sions of an artistic intervention and installation,
Urban Fiction and Urban Fiction 2.0. In this
installation that involves the mapping of inter-
actions and transversals through the multiple
spaces of a city, mobile devices are reconfigured
as lenses affording readings outside the fixed
relations inscribed through traditional cartogra-
phy. The city is revealed as a multilayered,
multi-authored fabric subject to multiple tensions,
constant re-weaving and occasional tears.
Extending the theme of the politics of embodi-
ment in the city landscape, ‘Provoking the city—
touch installations for urban space’ describes the
theoretical and practical concerns involved in the
creation of an interactive touch-based installation
situated in a public space. The authors seek to
further develop a notion of touch not only as
embodiment but also as a relational concept with
potential to open up new affective spaces.
While economic forces relentlessly continue to
drive the development of mobile devices so that
129
Mobile ubiquity in public and private spaces
more and more sophisticated visual and aural
Digital Creativity, Vol. 22, No. 3
communication modes become available, the
role and potential contribution of new media in
solving and untangling the problems and complex-
ities of contemporary societies remains unclear. In
this context, how we deal with larger than life
events including disaster and tragedy and what
use we make of mobile media devices is the
main topic of ‘Good grief: the role of social
mobile media in the 3.11 earthquake disaster in
Japan’. By exploring the use of social media in
the management of crisis and grief, the essay
seeks to probe into the notion of how co-presence
is instantiated through mobile social media and
how this in turn might promote ambient forms of
intimacy. Do contemporary mobile social media
provide the potential for greater affective persona-
lisation? Are there new affective economies and
micro-narratives that coalesce alongside the old
analogue media formations? Can we say that
indeed mobile social media has a role in the emer-
gence of new affective cultures?
From an ontological perspective, ‘Towards a
theory of pervasive ludology: reflections on game-
play, rules and space’ seeks to describe the bound-
aries of pervasive gaming. A key characteristic to
this genre is how, by reconfiguring the social land-
scape of the city, it expands the gaming space into
a dense grid of game objects, game goals and game
worlds. Drawing a distinction between playing
and gaming is paramount to understanding the
power of mobile game experience for humans:
whereas gaming is connected to rules and strategy,
playing enacts a meta-narrative that reconciles
paradoxical communication (Bateson 1972), thus
blurring the boundaries between the real and the
virtual; it is this liminal state of being in between
that supports the illusion.
With the widespread diffusion and impact of
mobile platforms comes the promise of software
cultures already presupposing and building upon a
notion of ubiquitous information. As mobile-
based distributed software applications, apps are
usually deployed on devices such as the iPhone,
iPad or Blackberry that can also be accessed and
utilised over a network. More recently, apps have
come to the fore as key components in the
 Editorial
information ecologies sustained through these plat-
Digital Creativity, Vol. 22, No. 3
forms. The author of ‘Ubiquitous apps: politics of
openness in global mobile cultures’ calls for a
reality check and a critical rethinking of this
aspect of mobile computing. The reality for us as
users is that we actually know very little about
apps and their supporting technological systems.
Who, why and for what purposes can apps be
accessed? What are the contingencies in social
and political relations that regulate access to apps?
The article thus presents an inquiry that begins to
reveal how the space where apps co-exist is
neither neutral nor decentralised but rather fuelled
by the profit-driven agendas of large corporations.
Whether in economic or technical discourses,
the very terms ‘ubiquity’, ‘pervasiveness’ and
‘ambience’ come silently freighted with a notion
of totalising universality or even certain ontologi-
cal and metaphysical remainders (altogether
abstract idealisations and/or excessively essential
or substantial extensions). Both the editors and
the authors contributing to this special issue
approach this as a call for ongoing deconstruction
and reconstruction, so that remainders and impli-
cations of onto-theological and sovereign ideologi-
cal notions must be questioned reasonably so as to
be put under critical erasure in one or more ways. In
other words, the essays include an implicit orien-
tation towards rather unconditional critique of the
idea that ubicomp is, should or could be ‘ubiqui-
tous’, that pervasive computing is, should, or
could be ‘pervasive’, or that the discourses, prac-
tices and inventions involved extend, penetrate
and invade ‘throughout’, or are always already at
stake all over. Instead, one would like to put the
emphasis on the multiple ways in which ‘ubiquity’
partakes of infinite finitude, and perhaps the inves-
tigation of the relations with contemporary mobile
cultures is one of the best ways to illustrate that the
general problem of a culture of ubiquitous infor-
mation exists not as one of totality or infinity but
rather as one of immanent complexity. Hence, in
this emergent third wave of computing, its
mobile devices and co-developing cultural prac-
tices might be one of the best foci because they
make felt a culture of ubiquitous information qua
the dynamics and energies of ad hoc network the-
130
ories and practices, because they make felt the
ways in which complexity arises from a vast
number of distinguishable relational regimes and
their associated state spaces, promising a defined
system (yet to come).
Paying more attention to the mobilities of glocal
information cultures (qua the processes and
dynamic relationalities of regional, national, and
local singularities) holds a certain priority of interest
here. For when treating of ubicomp it is perhaps still
too easy to underestimate how much the dynami-
cally mobile unfolding of Hertzian space has
meant to the differentiated technical development
and culturally lived experience of spaces (public,
private, mediatory and transportational flows) in
the network and information societies of the
world. Without the mobile phone, how conversant
would we be today with information-intensive
environments and their variants of mixed realities
(augmented reality as well as augmented virtuality)?
If the vibrations of the mobile phone and the multi-
sized touch screens had not already come along as
corporeal cultural affordances or facilitators, how
far would we have got with respect to a competent
and liveable decoding and recoding of the primor-
dially tactile and haptic dimensions of our psychic
and social envelopes vis-à-vis computational infra-
structures with context-awareness? Likewise, one
wonders exactly how much the mobiles have been
contributing to begin meeting the demand for a
more finely differentiated set of notions and
practices to take care of the relations between
ubicomp systems and cultural economies of
attention—spanning phenomena from the invisible
computers to the very visible glut of information
overloads, from embedded through calmly periph-
eral, affectively ambient and atmospherically sensi-
ble computing to installations actively and overtly
calling, via your perception, upon conscious curios-
ity and a desire to explore, or play.
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Lily Dı́az is an artist, designer, and researcher
working in the area of informatics and interactive
digital media. Currently she is Professor and Head
of Research in the Department of Media of the
School of Art and Design at Aalto University in
Helsinki. Her work has been exhibited in galleries
including the Royal Academy of Art in London,
the Martin Gropius Bau Museum in Berlin, Plane-
tario Alfa in Monterrey and Design Museum
Helsinki. She has conducted research and develop-
ment projects in areas such as visualisation and
information design; design and implementation
of digital archives related to cultural heritage;
and design of interfaces for virtual reality. She
was awarded First Prize in the Nabi Digital Story-
telling Competition of Intangible Heritage, organ-
ised by Art Center Nabi in Seoul Korea under the
official endorsement of UNESCO. The Digital
Facsimile of the Map of México 1550, Digital
Carta Marina, The Finnish Pavilion at the 1900
World Fair and Re-discovering Vrouw Maria are
among the digital cultural heritage projects that
she has directed. Dı́az is a frequent guest and col-
laborator in conferences and activities in the area
of design, information technology, and cultural
heritage and has more than 50 publications in
journals and conference proceedings.

Ulrik Ekman is Associate Professor at the Depart-
ment of Arts and Cultural Studies, University of
Copenhagen. His main research interests are in the
fields of cybernetics and ICT, the network society,
new media art, critical design and aesthetics, as
well as recent cultural theory. He is currently head
of the Nordic research network, The Culture of Ubi-
quitous Information, which has over 150 participat-
ing researchers. Publications include: editor of
Throughout: Art and Culture Emerging with Ubiqui-
tous Computing (MIT Press, forthcoming); co-
editor with Anders Michelsen of the special issue
133
Mobile ubiquity in public and private spaces
Interaction designs for ubiquity of fibreculture
Digital Creativity, Vol. 22, No. 3
(forthcoming); editor of the special issue The
body: beyond posthumanity of Turbulens (2008);
and co-editor with Frederik Tygstrup of Witness:
Memory, Representation, and the Media in Question
(Museum Tusculanum Press, 2008). He is the author
of research articles and chapters including ‘Irreduci-
ble vagueness: augmented worldmaking in Diller &
Scofidio’s Blur Building’ Post Modern Culture
19(2); ‘Of transductive speed – Stiegler’ Parallax
13(4); and ‘Of the untouchability of embodiment:
Rafael Lozano-Hemmer’ C-Theory (forthcoming).