I spoke at eComm 2008, held this year in March 2008 at the Computer History Museum in Sunnyvale California. I’ve been involved in the VoIP and open source telephony world for the last several years as a contributor to Asterisk, hacker on OpenSER and several other projects small and large involving tearing down the 100 year old telephony infrastructure and replacing it with something better different.
If you’re a part of the Asterisk community, you know that I have a certain amount of notoriety as The Roomba Guy. In a visionary fit of silliness during the Christmas holiday week in 2005, I decided it would be interesting to play with the Roomba API and see if I could hook it up to a Linksys WRT54G wireless router.
The Roomba uses an RS-232 CMOS 3.3V interface
The WRT54G has an RS-232 CMOS 3.3V interface
The Roomba supplies a 14V DC unregulated power output
The WRT54G can run off about 12V DC and has voltage regulators
You can see that based on this, the rest is inevitable. The Roomba has a 7-pin mini-din connector that provides the power and the RS-232 connection, so I made up a cable that goes from that connector to the 10-pin serial header interface on the WRT54G.
I got the serial port working pretty quickly and could send basic hex commands like start and stop to the Roomba. My friend made up some mounting “rails” to hold the WRT onto the top of the Roomba, and now the thing was autonomous and could be controlled via an SSH session established via WiFi. The WRT runs the White Russian OpenWRT Linux distribution.
The prospect of controlling the Roomba using SSH or a web interface wasn’t too compelling. I happened to be aware that some folks had success getting Asterisk (the open source telephony PBX) working on the WRT. So, I thought, what if we could put Asterisk onto the WRT and control the Roomba with that?
So, I did. Asterisk was easy to install on the WRT and in pretty short order I had cooked up an Asterisk dialplan that tied the telephone keypad to actions on the Roomba. 2 is forward, 5 is back, 6 turns right, 4 turns left, 5 stops, etc.
I was demonstrating this at Astricon 2006, a few months later, and my friend John Todd suggested that we contact Allison Smith, a voice artist of some renown and the “voice of Asterisk” — she supplied all the default english prompts for Asterisk.
She was incredibly accomodating and obliged graciously. She recorded about 20 prompts, including “forward”, “backwards”, “right”, “left”. We also allowed for control of the vacuum and brushes in the robot. So, you can press 1 to “start sucking” and press 3 to “stop sucking”. Did I mention that Allison is an incredibly good sport?
So, the final form took shape. A talking, SIP-enabled, WIFI, autonomous, cleaning, sucking, four-port ethernet switch able to run a small business phone system and clean it at the same time. It’s really quite baroque in its overall frilly uselessness, yet still compelling in a circus side-show sort of way.
We’ve experimented with adding a camera to it, but have found that it tends to create too much power draw. I’ve looked at using other routers that can run embedded Linux, but there always seems to be some reason why it doesn’t work. I really don’t have the time to spend on this, and that’s probably a good thing.
But, the overall lesson is an important one: Imagination is more important than knowledge. Einstein said it , but it should be repeated. As techies, we spend too much time thinking about how to solve a problem, rather than playfully considering new ways of framing problems. Imagination is truly the plutonium of technology, and we tend to lock it up and not use it that often. Knowledge is certainly important, but knowledge without imagination is everything that’s wrong with tech today. Certainly the telecomm industry needs more imagination.
So, Lee Dryburgh, who did an incredible job of organizing eComm 2008 (it’s the successor to the O’Reilly produced eTel conference) posted my presentation from eComm online last week, and I wanted to share it with you.
If you’re interested in more of the Roomba Asterisk specifics, ping me and I’ll blog in more depth about it.
On Tuesday, I attended the press preview and opening night events for Design and the Elastic Mind at the MoMA in NYC. It opens to the public Sunday, February 24th and includes works from designers, scientists, digital artists and thinkers from across a wide range of disciplines; my projects Twittervision and Flickrvision are featured.
I strongly recommend that you check out this exhibition, especially if you’re interested in the intersection between science, design, and art. There are some stunningly beautiful and provocative pieces. While the core ideas behind many of the pieces are technical — computation, informatics, bioscience — good design is required to make the information presentable and understandable to a broader audience. Paola Antonelli, curator for Architecture and Design at the MoMA, has done a remarkable job of assembling these pieces.
Here are some photos from the party Tuesday night.
Large scale, open-source Graffiti Projection System from Graffiti Research Lab. I need to build one of these. The graffiti is “painted” where the green laser hits. Note that the paint drips “up” in this photo. You can do that with digital paint!
This still seems improbable.
Sofia Lagerkvist (right) w/partner from Front Design. Creators of the remarkable “Sketch Furniture”, which can be drawn freehand in 3-space, then rendered in plastic using a laser-based process. Insane. Create your own furniture that looks like it’s straight out of a cartoon!
This is an example of an object created with the Sketch Furniture process.
The Painstation video game; where the punishment for losing is actual pain, inflicted by a table-mounted wristband!
Adam Putter and Janis Mussat. Their project Beerfinder.ca helps beer drinkers in Toronto coordinate beer runs, navigating complex store-closing hours!
No contemporary design exhibit is complete without the OLPC!
Me and Paola Antonelli, MoMA Curator of Design & Architecture. She curated Design and the Elastic Mind.
My favorite installation in the show, Shadow Monsters by Philip Worthington. Transforms people into amazing sights and sounds. You need to see this.
Me and Ian Spiro of fastfoodmaps.com, a Google maps project that shows the fast-food restaurants in the United States. He wishes he had more time to devote to this. He thinks Arby’s is retreating, but he wants to prove it!
“I Want You to Want Me” is a project by Jonathan Harris and Sep Kamvar, of wefeelfine.org fame. This project scrapes data from online dating sites and attempts to make sense of it. It uses a giant touch screen and is visually quite impressive.
A giant, pulsating 15′ tall “tree” made from what appear to be clear-coated fiberoptic strands. Really, really impressive piece of work. It is the “Sonumbra” by Rachel Wingfield and Mathias Gmachl.
Me and Noelle Steber of the Google Moon project. Noelle was responsible for assembling the Apollo data and is a student at MIT.
My wife Jennifer, showing off the digitally projected “Lightweeds” by Simon Heijdens.
I’m certainly very flattered to be included and have never considered myself to be an artist. I didn’t seek out MoMA on this. I am just very, very happy to have an opportunity to participate in a small way in the ongoing dialog about what technology means for humanity. Crap. Now I sound like an artist.
Incidentally, this means that twittervision.com and flickrvision.com are the first ever Ruby On Rails apps to be included in a major art exhibition. I already told DHH.
Anyway, at RailsConf Europe a few weeks ago, Dave Thomas’ keynote speech emphasized the role of software designers as artists. He said, “treat your projects as though they are artworks, and sign your name to them.” Or pretty close to it. I think this is incredibly valuable advice for software designers today.
We’re past the days of using machines as amplifiers of our physical efforts. It’s not enough to jam more features into code just so we can eliminate one more position on the assembly line. We’re at a point where the machines can help amplify our imaginations.
Today, creativity and imagination (what some folks are calling the right brain) are becoming the key drivers of software and design. With imagination, we can see around the corners of today’s most pressing challenges. While technical skill is certainly valuable, if it’s applied to the wrong problems, it’s wasted effort.
Creativity, imagination, and artistry help us identify the areas where we should put our efforts. They help us see things in new ways.
Everywhere I turn (perhaps partly because I am a Rubyist), I hear discussions of Domain Specific Languages, and of framing our problems in the right grammars.
This is hugely valuable because the creative part of our brain thinks in terms of semantics, grammars, and symbols. If we can’t get the words right, our imaginations can’t engage.
Everything stays stuck in the left side of our brains when we have to jump through hoops to please some particular language or development environment.
I hope you all will come out to see Design and the Elastic Mind when it opens at NYC MoMA, Feb 24 – May 12 2008. I’m not sure how we’re going to present the sites but we’re going to see if we can get some partners and sponsors involved to do something really beautiful.
And again, thanks to MoMA for the selection. And here’s to creativity, imagination, and artistry as the next big thing in software design!
We were on vacation in San Francisco in July 2005 when my wife was asked to pose hanging off a cable car by some photographers from American Girl.
In New York yesterday, we took our daughter to the American Girl store there and were greeted with these giant 7′ tall posters. Jennifer immediately remembered the incident in San Francisco. The staff was amused and gave us a free poster. And I’m amused that she’s the 1974 character who gets to say things like “Far Out.”
She looked up the illustrator, Robert Hunt, online. He’s apparently a major illustrator in the business, having done the artwork for the Dreamworks logo (kid sitting on the moon) as well as a bunch of other major work. Anyway, he described his process very thoroughly, and it seems unlikely that her “likeness” was used, as that would have required a model release, etc.
The team taking the photos was so emphatic (watch for it, it’ll be you!) though and the overall likeness to the pose that day is so great that we think those shots were used for blocking out the design.
We’ll probably never know, but these little coincidences add a touch of magic to life.
I am CEO and co-founder at 410Labs, and creator of Mailstrom. I'm a serial entrepreneur, software developer, and community builder in Baltimore, Maryland, USA.
