The Rise Of The Sensornet: 4.9BN Connected Things In 2015, Says Gartner

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Originally posted on TechCrunch:

Gartner is predicting a 30 per cent jump in the number of connected objects in use in the wild from this year to next as sensing connected devices proliferate in an Internet of Things (IoT). In a forecast put out today, the analyst predicts there will be 4.9 billion connected things in use in 2015, up from 3.8 billion this year.

The boom in connected sensing devices will gather pace, with the analyst predicting some 25 billion smart devices in circulation come 2020. In other words, hold onto your breath-sensing seats.

For a little comparative context on the figures, annual smartphone shipments topped 1 billion for the first time at the start of this year, based on IDC’s numbers. Connected things can of course scale much faster than smartphones, being far less complex and having a fraction of the per unit cost.

Gartner expects the automotive sector to see the highest growth rate of…

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September 2014 – artist statement

Blue Hat, Move Earth, Spoken Words

Michie Lyne

Artist statement

Information technology has recently developed significantly by means of the World Wide Web network system. Smartphone, tablet, console and laptop computers are available and manageable for people; the communication using the network system has become a part of our everyday life. A further important matter in this is the increasing connectivity between people and places despite differences in time and their practices in living. In such a digitised computer age, what artefacts do contemporary artists bring to society both locally and globally?

I am interested in the idea that the virtual and the physical space co-exist. I have experimented with the issue in the framework of new media art in which I discovered an interrelation between art, science and philosophy. I perused major media theorists in terms of the role of new media in society: Marshall McLuhan’s Understanding Media – medium is expressed as extensions of man, ‘All media are active metaphors in their power to translate experience into new forms.’ (1964, 1994 p.57), Jean Baudrillard’s view on the postmodern culture – “the original can be copied by new technology and the copy can be a original in postmodern culture.” (1983, p. 83), (this could mean that a digital image can be viewed as the physical reality in digitalised culture), William J. Mitchell’s examination of the relationship between cyber space and physical space in Me++, ‘It is all very Platonic, in a way; digitally encoded ideas exist somewhere in cyberspace, and physical artifacts are their imperfect, material realizations.’ (2003, p.142), Lev Manovich’s investigation into the structure of New and Old media in the language of new media (2001, p.49) – a number of studies in new media were written. However, art that uses new media has been categorised as commercial art. If the physical and the virtual space co-exist in concept and reality, then new media art should be seen as no less valuable than physical, material-based art. This has not been the case and would be a new idea.

Manuel Castells pointed out in The rise of the network society that, ‘It is a system in which reality itself (that is, people’s material/symbolic existence) is entirely captured, fully immersed in a virtual image setting, in the world of make believe, in which appearances are not just on the screen through which experience is communicated, but they become the experience.’ (2010, p.404) This suggests the reality is perceived through symbolic experiences; therefore the virtual experiences can be said to be the same as experiences in the physical reality. Furthermore, according to Castell, the new communication system characterises “diversification, multimodality and versatility: diversity in interests, values and imaginations” (2010, p.405). This suggests the possibilities of multi-viewpoints in culture and society. An example for practice artists, Anja Kirschner & David Panos’s film work investigates historical perspectives in contrast to popular images. Using recent technology their work depicts contemporary dimensions, such as their use of computer-generated imageries, which appears not to be in a straightforward way but showing rather the process of and an awkwardness of unbalance. (2012) This could be questioning the balance of physical and virtual space and materials. In his talk David Panos described ‘digital’ as a question and used a green screen as an abstract space in terms of the interrelationship between reality and fiction. (2014)

My work reflects on such current debate concerning how people acknowledge the real and the virtual in everyday life. While investigating new media art in the post-digital culture, I use digital materials as having equal value in art to physical materials. I have attempted to prove the context within Fine Art discipline and have been intrigued by the frame of experimental practices in new media art. In my practice I visualise the physical and the virtual space in a combination of several artefacts: digital photographs, moving images, physical materials, and drawings in a form of installation art. Regarding phenomenology, I depict objects and people from my direct experience in the immediate environment in order to explore the materials as undisguised beings. My digital images are highly edited using software to create meta-narratives. In a series of short moving images, a sequence of photographs and drawings I translate my experience of encounters of people and objects into a story.

My final outcome in practice is a depiction of a construction site. I captured stills and moving images of raw materials: dust, earth, cement, etc. I observed and communicated with people who were working at the site. I recorded the footage with digital video camera and sound recorder then edited footage to be a series of visual prose poems; photographs were interwoven into my moving images rather than being one single frozen shot. I used text in a sense of typography and explored that as audio-visual communication language. For instance, I decided how the texts would appear and disappear on the screen by the beat of the soundtrack. There are 3 sets of moving images: Blue Hat, Move Earth, Spoken Words, fig.3, Blue Hat depicts the organization of the site, Move Earth shows the physical materiality and Spoken Words interprets the whole imageries. The videos are shown between steel structures as parallel imageries. My drawing images are a re-enactment of the construction site map in a manner of assemblage, fig.1. The setting is derived from the map. The site-specific installation, fig. 2, Blueprint – it is a dream team, which consists of 3 sets of digital video projections together with the material structures and the set of drawings. I assembled them in a space of concealment so that the space would be immersed in a condition of physical and virtual space. I explored new media in my art, which has come to the point that was not reveal what objects actually are but the realisation of and acceptance of reality – in which physical and virtual space co-exist in contemporary society.

976 words


Audio Visual source:

Kirschner, A., Panos, D. (2012) Ausstellungsansicht: Ultimate Substance, [Vimeo] Available form: [Accessed 13 August 2014]


Cairns, S., Clinton, P., Panos, D., Reid, C. (2014) How is the 21st Century Different? ICA: London. [Visited 5 July 2014]


Baudrillard, J. (1983) Simulations: the MIT Press, p. 83
Castells, M. (2010) The rise of the network society, Chichestre: Blackwell Publishing, pp. 404-405
Manovich, L. (2001) The Language of New Media, Cambridge: The MIT Press, p. 49
McLuhan, M. (1964, 1994) Understanding Media the Extension of Man, 8th ed. Massachusetts: The MIT Press, p.57
Mitchell, William J. (2003) ME++ The cyborg self and the networked city, London: The MIT Press, p. 142


fig.3 video stills


fig.1 a sense of atmosphere_2


fig.2 installation view


Film stills: Water – in its ability to change its own form

‘Its own form’ Capture the liminality of water in moving and still images as visual poems: fine earth mixture with stream water – throwing, drying and firing.

A project for Creative Sparks

Creative Sparks

For the Commons launch event at the Newton Park Campus Bath Spa University

Our project was

Project:     Water – in its ability to change its own form

Contributors:  Michie Lyne & Rupert Brakspear

An installation that explores sounds, vision and tactility in art, with an exploration of where arts and sciences meet, investigating the relationship between water and clay.

This project examines water’s ability to change its own form, and its use as a metaphor, using the disciplines of art, design and environmental science. Michie Lyne from MA Fine Art and Rupert Brakspear from MA Ceramics integrate their different skills into the artwork: the artistry in raw materials; the physical components of water and earth; and the discoveries and understandings of natural systems. The students translate from the languages of their various disciplines; then together exhibit a coherent diagram as a systematic research project.

The resulting installation includes films as visual poems, the transformation of clay and earth in a display of ceramics, and a dialogue of map, field-work samples and tests.

Visitors will be able to see, touch and feel the samples of clay from across Newton Park Campus and witness the changes that occur as water and clay / ceramic interact over the few hours the event runs.

With thanks to our mentor Robert Fearns, the Sion Hill Audio-visual room and the Sion Hill Ceramic workshop.






Interaction between water and clay

Interaction between water and clay


‘Creative Sparks’

‘Creative Sparks is a platform for students and staff from different disciplines to come together and demonstrate their creative thinking across traditional subject boundaries by responding to individual briefs. Here, students and staff have responded to the brief of ‘water’ to show how their individual skills and subject knowledge can combine to create stunning results.’


A field trip to Newton Park Campus, Rupert collected samples of clay whilst I took images to make short art films.


Rolling the clay


Named the bag


Searching for clay


Taking notes


Testing the clay


Found fine earth by the river bank


River bank


Sample collecting


River bank


At the Commons meeting room


Collecting natural clay samples


I visited Bath Spa University Newton Park Campus with my collaborator, ceramicist Rupert Brakspear for Creative Sparks project. He collected clay samples to make pots and I took photographs and moving images to create short art films.

The atmosphere gallery at Science Museum

The atmosphere gallery at Science Museum


Permanent Exhibition – Atmosphere

Visited 27th December 2013
• Understand an installation art in a different media
• Responding the architectural space
• An immersive and interactive space
• Function – ecology, an effect on climate change

What significant about the room, to me, was the use of ceiling space; a star like images were projected onto the transparent curved mesh sheets. The room was meant to be an immersive space as if being in an atmosphere. The interactive screens were in a wide range of activities – games, interviews and historical references.

Forget Mega-Corporations, Here’s The Mega-Network

Originally posted on TechCrunch:

We live in the age of cryptocurrency heists, Chinese moon landings, eco-disasters and electronic cigarettes. Sounds like something out of a cyberpunk novel.

Well, a cyberpunk novel without the brain implants, but don’t worry, those are coming, too. But one big cyberpunk theme that hasn’t come to pass is the rise of mega-corporations — those huge multinational conglomerates, like Robocop‘s OCP, that owned everything from baby food companies to police departments.

Corporations are arguably more powerful today than ever before. But the economy isn’t dominated by a handful of megalithic conglomerates. it consists of hundreds or thousands of smaller, more specialized firms. Our cyberpunk future-present is dominated instead by a new power structure: the mega-network.

The Incredible Shrinking Firm

Science fiction is more about the present than the future, as the saying goes. And in the late 1970s and early 1980s — when the original cyberpunk stories were…

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