0:00:02 > 0:00:05MUSIC PLAYS
0:00:05 > 0:00:07HUMMING
0:00:22 > 0:00:26This week on Click, we are taking part in art.
0:00:26 > 0:00:31We are at the exhibition that gives your wishes and your spirits wings.
0:00:31 > 0:00:34will.i.am is here. He has reinvented music, apparently.
0:00:34 > 0:00:38So has Bjork. We'll chat with her musical director.
0:00:38 > 0:00:40And we'll find out how our feelings
0:00:40 > 0:00:44can affect the stuff we watch and the stuff we buy.
0:00:44 > 0:00:47We've got all that, plus singing trees, the latest tech news,
0:00:47 > 0:00:48and Webscape, too.
0:00:52 > 0:00:57Welcome to Click. I'm Spencer Kelly, and welcome to the Barbican Centre in London,
0:00:57 > 0:01:02home for the next three months to the Digital Revolution Exhibition.
0:01:02 > 0:01:05This is where fashion, music, performance and technology
0:01:05 > 0:01:09all come together in one big eclectic show reel of digital art.
0:01:11 > 0:01:16There's dancing, there's cartoon faces, smoking reflections
0:01:16 > 0:01:18and mobile phone birds.
0:01:19 > 0:01:21Yep, it's a right mixed bag.
0:01:21 > 0:01:25One of the big focuses here, though, is on using technology to enhance
0:01:25 > 0:01:28visual media, to get the audience more engaged
0:01:28 > 0:01:32with what they watch and even become part of the show.
0:01:32 > 0:01:37For example, this piece uses an Xbox Kinect to track my movements
0:01:37 > 0:01:41and then turn me into a very strange cartoon character.
0:01:41 > 0:01:43I can interact with various things that
0:01:43 > 0:01:46fly across the screen at the same time.
0:01:46 > 0:01:49Now, biometric data such as the way you move is
0:01:49 > 0:01:53becoming of particular interest to the film industry.
0:01:53 > 0:01:55That's because it allows for the precise response
0:01:55 > 0:01:58of the audience to be measured and that's
0:01:58 > 0:02:02information that could even be used to change the finished product.
0:02:02 > 0:02:04David Reid went to Cannes
0:02:04 > 0:02:07to experience an immersive screening for himself.
0:02:09 > 0:02:13Every year, Cannes Lions Advertising Festival gives industry bigwigs
0:02:13 > 0:02:15a glimpse at the latest emerging talent
0:02:15 > 0:02:19with the Saatchi and Saatchi New Directors' Showcase.
0:02:19 > 0:02:22This year, it was an emotionally charged affair
0:02:22 > 0:02:24and there were nurses on hand.
0:02:24 > 0:02:26At least, I think they were nurses.
0:02:26 > 0:02:32- Do either of you girls have any medical training at all? - No.- Yes, I have.
0:02:32 > 0:02:36No, I'm a communications student.
0:02:36 > 0:02:39The audience was given smart bracelets.
0:02:39 > 0:02:43They purport to detect how people are feeling about what they are seeing
0:02:43 > 0:02:47and were developed by the collective behind Lady Gaga's TechHaus.
0:02:48 > 0:02:52First, the devices were calibrated, then it's on with the show,
0:02:52 > 0:02:55with the bracelets glowing blue, green and red
0:02:55 > 0:02:58depending on the level of audience arousal.
0:03:00 > 0:03:02The skin holds so many clues to how we feel,
0:03:02 > 0:03:04our emotional responses to things.
0:03:04 > 0:03:05Our temperature changes,
0:03:05 > 0:03:09we know that we blush when we get embarrassed, for example.
0:03:09 > 0:03:13These are all things that we can measure electrically.
0:03:13 > 0:03:15The developers are a bit cagey
0:03:15 > 0:03:20about exactly what sensors are detecting what parameters.
0:03:20 > 0:03:23So you'll see on the back here we have two contacts.
0:03:23 > 0:03:26However, one thing the device appears to do is to run
0:03:26 > 0:03:29a current across the skin to measure resistance.
0:03:29 > 0:03:32We sweat when we get excited, for example,
0:03:32 > 0:03:36and XO's device is designed to pick up these emotional triggers.
0:03:39 > 0:03:42Data from the bracelets was used by the British company
0:03:42 > 0:03:46Marshmallow Laser Feast to create laser art depicting,
0:03:46 > 0:03:51for the audience's benefit, their collective emotions in real-time.
0:03:53 > 0:03:56We have used it to control the geometry,
0:03:56 > 0:03:59so we have basically driven a parametric design,
0:03:59 > 0:04:03which includes geometric patterns and also colours.
0:04:03 > 0:04:04But once you've got this data
0:04:04 > 0:04:07we are really interested in what else you could do.
0:04:09 > 0:04:14XO isn't the only outfit using wristbands as part of a live set.
0:04:14 > 0:04:15Earlier this year
0:04:15 > 0:04:19at South By Southwest, American start-up Lightwave rolled out
0:04:19 > 0:04:22biometric bands which detected movement,
0:04:22 > 0:04:24audio levels, temperature -
0:04:24 > 0:04:28basically just how moshy it was getting in the mosh pit.
0:04:30 > 0:04:34Back in Cannes and Studio XO believe emotional data could add
0:04:34 > 0:04:39a whole new dimension to these kinds of live events.
0:04:39 > 0:04:42These days, the live experience is paramount,
0:04:42 > 0:04:46and adding emotional technology into that is incredibly exciting.
0:04:46 > 0:04:50It's this new authentic layer where people can have really
0:04:50 > 0:04:53symbiotic experiences with their artists, with the films
0:04:53 > 0:04:57that they see, the theatre they go to, the games they are playing.
0:04:57 > 0:05:01There are wider applications for this technology, beyond live events.
0:05:01 > 0:05:04Advertisers, for example, are interested in emotional tech
0:05:04 > 0:05:09to determine if their messages are really hitting home.
0:05:09 > 0:05:13People hide their emotions well. What you get is often only a reflection.
0:05:13 > 0:05:17That's why a technology like this, which gauges the physical reactions,
0:05:17 > 0:05:20the telltale signs behind emotions, can give you
0:05:20 > 0:05:25an honest insight into what people are really thinking and feeling.
0:05:25 > 0:05:30When you have something that is directly related to the emotions
0:05:30 > 0:05:35and the way people are feeling, that is a true reaction.
0:05:35 > 0:05:38Not just - what did I click on, how long did I stay on a web page
0:05:38 > 0:05:40and what is on my mobile phone,
0:05:40 > 0:05:42but what's in my heart and what's in my mind.
0:05:45 > 0:05:49Emotion is potentially a new digital domain.
0:05:49 > 0:05:52Tech that feels us could make live events more immersive,
0:05:52 > 0:05:56but also unravel for advertisers the riddle of the human heart,
0:05:56 > 0:06:00pitching us products we might be helpless to resist.
0:06:02 > 0:06:05David Reid, getting rather emotional.
0:06:05 > 0:06:07Now, some of the work on show here at Digital Revolution
0:06:07 > 0:06:10is by what you would call traditional digital artists.
0:06:10 > 0:06:14Some is by cinematic artists like this one, and there is one
0:06:14 > 0:06:18installation on show here which is the work of a music artist.
0:06:18 > 0:06:24That's artist/creative/producer/ songwriter/technologist/
0:06:24 > 0:06:27geek/entrepreneur/artist.
0:06:27 > 0:06:29Did I say that already? It's will.i.am.
0:06:31 > 0:06:33He is one of the four Black Eyed Peas
0:06:33 > 0:06:37and his music videos speak volumes about his love of tech.
0:06:38 > 0:06:42For the Digital Revolution Show, he has co-created this work -
0:06:42 > 0:06:46Pyramidi, which involves in part reimagining the guitar,
0:06:46 > 0:06:48the piano and the drum.
0:06:49 > 0:06:53The three new instruments live inside these pyramids and,
0:06:53 > 0:06:55controlled through a MIDI interface,
0:06:55 > 0:06:58play the tune that Will wrote to accompany the piece.
0:06:58 > 0:06:59That's him, by the way,
0:06:59 > 0:07:02looking down on it all from his face palace in the sky.
0:07:06 > 0:07:08What is the story behind Pyramidi, then?
0:07:08 > 0:07:12We created a song for a museum, but then also created
0:07:12 > 0:07:16the instruments that the song is to be played through.
0:07:16 > 0:07:23We created a player band that play in unison to songs that have been
0:07:23 > 0:07:25inputted with MIDI.
0:07:25 > 0:07:30It is a crazy, crazy, awesome, you know, level.
0:07:30 > 0:07:33A totally different level to create on. It's so exciting.
0:07:33 > 0:07:37You just open up the whole gamut on anything is possible.
0:07:39 > 0:07:44People are walking around with their phones and their tablets,
0:07:44 > 0:07:51you know, multi-tasking, living two lives at once.
0:07:51 > 0:07:56You go on a date with your loved one, your significant other,
0:07:56 > 0:08:00- and... you're not even there. - You're tweeting.
0:08:00 > 0:08:05You're tweeting, both of you guys are tweeting...
0:08:05 > 0:08:07it's kind of nuts. It's new, though.
0:08:07 > 0:08:10But I think this is just an interim, I don't think it's going to be
0:08:10 > 0:08:13like this for ever, I think this is just right now.
0:08:14 > 0:08:17Right now the cloud is something, like,
0:08:17 > 0:08:19we don't realise what we're giving away.
0:08:21 > 0:08:22Right?
0:08:22 > 0:08:26You don't realise that you're giving away everything
0:08:26 > 0:08:28for the sake of convenience.
0:08:28 > 0:08:32It's all new, Facebook isn't 20 years old, it's new.
0:08:32 > 0:08:39It's big, it's cool, but it's just right now. It ain't for ever.
0:08:39 > 0:08:43Especially when you know someone is going to get hip to the fact that,
0:08:43 > 0:08:47"Wait a second, you mean this company is worth billions of dollars
0:08:47 > 0:08:48"just because I gave my stuff away?
0:08:48 > 0:08:52"And I didn't get nothing for it?" One day we're going to wake up.
0:08:52 > 0:08:55And what will that future look like if we sleepwalk into it?
0:08:55 > 0:08:57You remember the movie The Matrix?
0:08:57 > 0:08:59Everyone is plugged into something.
0:08:59 > 0:09:03The ultimate data mining and they would just rather be in this machine
0:09:03 > 0:09:05and totally forget what real life is about.
0:09:05 > 0:09:09Everyone is following, everyone is liking,
0:09:09 > 0:09:12but on these social platforms, it's not understanding.
0:09:12 > 0:09:14There is no button to understand.
0:09:14 > 0:09:17They don't care if you understand what is popping off.
0:09:17 > 0:09:21So...we have surrendered and are surrendering so much
0:09:21 > 0:09:25for this convenience, for free.
0:09:25 > 0:09:28Will, thanks very much for your time.
0:09:28 > 0:09:31Your thoughts on what Will says would be very welcome.
0:09:31 > 0:09:33On Twitter we are @bbcclick.
0:09:33 > 0:09:36We are also on Facebook as well. (Don't tell Will.)
0:09:36 > 0:09:39OK. Next up, a look at this week's tech news.
0:09:40 > 0:09:42And we start with Facebook:
0:09:42 > 0:09:44A UK regulator is investigating
0:09:44 > 0:09:47whether the social network broke data protection laws
0:09:47 > 0:09:50when it conducted a psychological study on users
0:09:50 > 0:09:51without their consent.
0:09:51 > 0:09:56The test saw Facebook manipulate the newsfeeds of nearly 700,000
0:09:56 > 0:10:00users to control which emotional expressions they were exposed to.
0:10:00 > 0:10:04Seven internet service providers have filed a legal complaint
0:10:04 > 0:10:07against the UK's intelligence agency GCHQ,
0:10:07 > 0:10:11alleging it used malicious software against their networks.
0:10:11 > 0:10:16The ISPs - from the UK, US, Germany, South Korea, the Netherlands
0:10:16 > 0:10:18and Zimbabwe - are working with campaign group
0:10:18 > 0:10:21Privacy International on the complaint.
0:10:21 > 0:10:24The ISPs claim the alleged network attacks were illegal
0:10:24 > 0:10:27and undermine the goodwill the organisations rely on.
0:10:27 > 0:10:30The cost of surfing the internet on your phone while travelling
0:10:30 > 0:10:35in the EU has been cut by half, as new rules come into force.
0:10:35 > 0:10:39Changes, which activated on 1st July, see the cost of browsing fall
0:10:39 > 0:10:41to 16p per megabyte.
0:10:42 > 0:10:45The price of calling and texting has also been reduced.
0:10:45 > 0:10:47In April, the European Parliament voted
0:10:47 > 0:10:49to scrap roaming fees altogether,
0:10:49 > 0:10:53although this still needs final approval of all EU governments.
0:10:58 > 0:11:00Sticking with musicians who love their tech,
0:11:00 > 0:11:03this is one of Bjork's music apps.
0:11:03 > 0:11:05It's part of her Biophilia project and tour,
0:11:05 > 0:11:07which lasted for three years.
0:11:07 > 0:11:10Recently we visited her musical director
0:11:10 > 0:11:12Matt Robertson in his studio to discuss
0:11:12 > 0:11:17the evolution of Bjork's instruments and what they mean for performance.
0:11:17 > 0:11:20# I shuffle around... #
0:11:22 > 0:11:27I was working closely with Bjork and the technical team to come up
0:11:27 > 0:11:34with ways that some of her custom instruments could be controlled
0:11:34 > 0:11:37and also live musicians interact with that on stage.
0:11:44 > 0:11:47The Reactable is a visual synthesiser, I think
0:11:47 > 0:11:49is the best way to describe it.
0:11:49 > 0:11:52The user's got lots of different blocks and patterns
0:11:52 > 0:11:56that you can make on it that create different electronic sounds.
0:11:56 > 0:11:59So, depending on the blocks that you put on it,
0:11:59 > 0:12:03the orientation of the blocks and the order of the blocks,
0:12:03 > 0:12:06you get different sounds coming out of it.
0:12:10 > 0:12:13One of the things with playing something like a piano or
0:12:13 > 0:12:19an organ is that your hands tend to fall in particular shapes
0:12:19 > 0:12:20when you sit down and play it.
0:12:20 > 0:12:23Wouldn't it be fun if there was a note down here and a note up there
0:12:23 > 0:12:26and a bunch in the middle that you would never be able to reach,
0:12:26 > 0:12:28and then they all happen really quickly.
0:12:28 > 0:12:32# My mind in... #
0:12:32 > 0:12:35So, Bjork had some pipe organs made for her.
0:12:35 > 0:12:39The idea was integrating the acoustic instrument
0:12:39 > 0:12:41and the electronic control.
0:12:41 > 0:12:45There are little solenoid motors underneath every key
0:12:45 > 0:12:48so that you can remote control it, basically.
0:12:48 > 0:12:52# ..Or have I too often... #
0:12:52 > 0:12:57We had two pipe organs on tour and also what we called a gamalest.
0:12:57 > 0:13:02It does give you a, kind of, a different sound world.
0:13:02 > 0:13:04Does it make you actually compose things differently?
0:13:04 > 0:13:05I'm not exactly sure.
0:13:05 > 0:13:08Does it open up a whole load of possibilities that you didn't have
0:13:08 > 0:13:11before that you can then choose to use or not use?
0:13:11 > 0:13:12Absolutely, yes.
0:13:15 > 0:13:18For me, I think it's really important that
0:13:18 > 0:13:23when you see a gig, that there are aspects of it that you are in awe of,
0:13:23 > 0:13:25and aspects where you are like, "Wow, I've never seen that before".
0:13:25 > 0:13:27So in the Bjork show,
0:13:27 > 0:13:33with the huge pendulum harps that were on stage, when they actually
0:13:33 > 0:13:37start moving and you hear what's happening and you get some kind
0:13:37 > 0:13:41of sense that actually these really big things are making this really
0:13:41 > 0:13:47amazing harp pluck sound, I think it does help that level of interaction.
0:13:47 > 0:13:51I think a key thing is to be inspired by the instruments that you have.
0:13:51 > 0:13:58And if interface with computers can be made more interactive
0:13:58 > 0:14:01and more intuitive and quicker and more fun
0:14:01 > 0:14:04then I think you're going to be more inspired by the sounds that
0:14:04 > 0:14:07you are creating and, by extension, write more interesting music.
0:14:07 > 0:14:10# ..Craving miracles... #
0:14:10 > 0:14:15CHEERING AND APPLAUSE
0:14:15 > 0:14:17Matt Robertson.
0:14:17 > 0:14:19I'll tell you, all of those amazing-looking instruments really
0:14:19 > 0:14:23make me wish that I had something groovy to make beautiful music with.
0:14:28 > 0:14:31CHIMING
0:14:34 > 0:14:39This is Forest, a dark hazy space full of laser trees,
0:14:39 > 0:14:40which you can wobble.
0:14:43 > 0:14:46Accelerometers atop each pole detect the slightest movement
0:14:46 > 0:14:50and each one emits a different note as they move.
0:14:50 > 0:14:53Meaning a walk through the woods will definitely invoke a weird,
0:14:53 > 0:14:56but I have to say, very soothing, composition.
0:14:58 > 0:15:01I think it was a teacher... And all the kids that were interacting
0:15:01 > 0:15:06with the space had left, and they were left on their own
0:15:06 > 0:15:09in the environment and they just started aeroplaning around.
0:15:09 > 0:15:14Basically. They became a big kid again. That was a really nice moment.
0:15:15 > 0:15:20Now, if you wanted to buy a piece of art, ordinarily you would do it
0:15:20 > 0:15:23at an auction where the person with the most money wins.
0:15:23 > 0:15:28But one recent Swedish art auction didn't want cash or cheque, instead
0:15:28 > 0:15:33bidders registered their interest by making a more emotional investment.
0:15:33 > 0:15:36LJ Rich went to Stockholm to find out more.
0:15:39 > 0:15:41A glitzy art auction in Sweden.
0:15:41 > 0:15:4625,000 euros worth of artefacts up for grabs.
0:15:46 > 0:15:51But put your wallets away because money won't win you the prize.
0:15:51 > 0:15:56If you want a piece of art, right here is where you start paying...
0:15:56 > 0:15:57with emotion.
0:15:58 > 0:16:04Pop into a private booth, get wired up, and then you are exposed to this.
0:16:04 > 0:16:06Or this.
0:16:06 > 0:16:07Or this,
0:16:07 > 0:16:10for 60 emotional seconds.
0:16:10 > 0:16:13This is completely different auction. It's not that I can say,
0:16:13 > 0:16:16"This is what I'm going to pay, I want it",
0:16:16 > 0:16:20it is my feeling, my emotion, that has to pay for it.
0:16:20 > 0:16:23And if I don't feel, if I don't have enough emotion, I can't buy it.
0:16:23 > 0:16:25So it's really different.
0:16:25 > 0:16:28Welcome to the world's first emotional auction,
0:16:28 > 0:16:32where your biometric reading makes up your bid.
0:16:32 > 0:16:34So, how does it work?
0:16:36 > 0:16:40To run your own emotional excitement auction, you'll need -
0:16:40 > 0:16:42an Arduino board, sensors,
0:16:42 > 0:16:45and a specially calibrated programme.
0:16:45 > 0:16:48And probably Andreas, the developer.
0:16:48 > 0:16:52Two things are measured - your heart rate and your sweat. Mmm!
0:16:52 > 0:16:55The posh term is galvanic skin response, or GSR,
0:16:55 > 0:16:57which sounds much more savoury.
0:16:57 > 0:17:00We're not going to judge you for having sweaty palms,
0:17:00 > 0:17:05we're going to take the change in the sweat on your fingers
0:17:05 > 0:17:10and we are also going to use an ear clip to get your heart rate.
0:17:10 > 0:17:12We're going to combine these values.
0:17:12 > 0:17:15It doesn't really matter if you feel happy about it or
0:17:15 > 0:17:18if you feel sad or angry, or just...
0:17:18 > 0:17:23Just don't be monotone, just feel something at least.
0:17:23 > 0:17:26Back to the auction and things are hotting up.
0:17:26 > 0:17:29The art pieces have been kept secret until the auction,
0:17:29 > 0:17:33so they will be revealed to the bidder when they sit in front of it.
0:17:33 > 0:17:38I'd love to see the film afterwards and see everyone's reaction.
0:17:38 > 0:17:40Well, it's clear some of these pieces
0:17:40 > 0:17:42may have been designed to get a response.
0:17:42 > 0:17:47This lady's reaction won her... well, it's a candle holder.
0:17:47 > 0:17:51I didn't think about that, I didn't think "I really want it",
0:17:51 > 0:17:57I just thought about that it was a really fun piece and, you know,
0:17:57 > 0:17:59it made me laugh.
0:17:59 > 0:18:01And I guess that means that I want it.
0:18:02 > 0:18:06OK, I may not have won anything at the auction, but it did make me
0:18:06 > 0:18:09think, although this thing is really only really measuring
0:18:09 > 0:18:11our heightened response to something,
0:18:11 > 0:18:12as opposed to actual emotions,
0:18:12 > 0:18:16could there be a future where you could tell what I'm thinking?
0:18:18 > 0:18:21Knowing LJ that'll be something about music, I can guarantee it.
0:18:21 > 0:18:24Anyway, that was LJ Rich in Sweden.
0:18:24 > 0:18:27Back here in the DevArt room in London,
0:18:27 > 0:18:29a piece of art that also taps into your emotions.
0:18:29 > 0:18:32This wall of butterflies is called The Wishing Wall.
0:18:32 > 0:18:33The first thing you have to do
0:18:33 > 0:18:36is make a wish into one of these microphones.
0:18:36 > 0:18:39I wish for world peace.
0:18:42 > 0:18:45That wish then becomes script on the wall,
0:18:45 > 0:18:49which then becomes a cocoon, which then becomes a new butterfly,
0:18:49 > 0:18:53which you can briefly hold in your hand, before it takes flight.
0:18:54 > 0:18:56That piece of magic is thanks to, if you ask me,
0:18:56 > 0:18:59the real hero of this show -
0:18:59 > 0:19:01the Kinect motion sensor.
0:19:01 > 0:19:04Here, accurately detecting the position of the hand that
0:19:04 > 0:19:07the butterfly is projected onto and elsewhere around the event,
0:19:07 > 0:19:11really allowing these pieces of art to interact seamlessly with
0:19:11 > 0:19:13viewers' movements.
0:19:13 > 0:19:15Different types of wish here at the wall
0:19:15 > 0:19:17create different coloured wings.
0:19:17 > 0:19:20My positive wish has given birth to a yellow butterfly,
0:19:20 > 0:19:24which then flutters off, presumably to make that wish come true.
0:19:25 > 0:19:29But more prosaically, one thing we all wish for in the world of tech
0:19:29 > 0:19:34is a better connection, so here is Kate Russell with Webscape.
0:19:34 > 0:19:38# ..Don't stop me now! #
0:19:38 > 0:19:41Not all mobile networks were made equal.
0:19:41 > 0:19:43In fact, different carriers often have better coverage
0:19:43 > 0:19:45in different areas,
0:19:45 > 0:19:49which is why RootMetrics is running a crowd-sourced project
0:19:49 > 0:19:52to map the performance of services all over the world, helping
0:19:52 > 0:19:56you to see what kind of connectivity to expect where you live.
0:19:56 > 0:20:00# I'm burning through the sky, yeah 200 degrees... #
0:20:00 > 0:20:03Currently, the app is being used to measure
0:20:03 > 0:20:06hundreds of operators in every continent.
0:20:06 > 0:20:10And as time goes on, the data will become more and more accurate.
0:20:10 > 0:20:13Use the map to hone into your area
0:20:13 > 0:20:17and then flip between available service providers
0:20:17 > 0:20:21to see which is likely to give you smoothest connection.
0:20:21 > 0:20:24Contribute to the project with the iPhone and Android apps,
0:20:24 > 0:20:28but if you set the Android app to run continuously in the background,
0:20:28 > 0:20:31bear in mind there might be battery implications.
0:20:31 > 0:20:35# I wanna make a supersonic woman of you... #
0:20:36 > 0:20:39Another connectivity issue is with Wi-Fi performance.
0:20:39 > 0:20:42- # Hey, hey, hey... - Don't stop me, don't stop me, ooh, ooh, ooh... #
0:20:42 > 0:20:45There are lots of variables that can affect this,
0:20:45 > 0:20:48such as distance between your device and the router
0:20:48 > 0:20:51or the number of walls the signal has to pass through.
0:20:51 > 0:20:56Android users can download the free Wi-Fi analyser app from farproc,
0:20:56 > 0:20:59to see at a glance how their wireless network is performing
0:20:59 > 0:21:03and how many other people in the area are on the same channel.
0:21:05 > 0:21:09There are 13 channels in total, and most wireless routers are set up
0:21:09 > 0:21:12with channel number six as the default.
0:21:12 > 0:21:14So, if you live in a built-up area
0:21:14 > 0:21:16with lots of people using this channel,
0:21:16 > 0:21:18you might get better Wi-Fi speeds
0:21:18 > 0:21:21if you switch to a less crowded frequency.
0:21:21 > 0:21:24You can actually do this yourself quite easily.
0:21:26 > 0:21:28# I want to break free... #
0:21:28 > 0:21:32You need to access the router's interface by putting
0:21:32 > 0:21:35the IP address into a browser.
0:21:35 > 0:21:38You'll find this in the manual or on the bottom of your router.
0:21:38 > 0:21:42Once you've accessed the router interface with your username
0:21:42 > 0:21:45and password, which should also be in the paperwork
0:21:45 > 0:21:48that came with your router, look for the Wi-Fi settings
0:21:48 > 0:21:53and the channel number should be selectable via a drop-down menu.
0:21:53 > 0:21:54Save and you're done.
0:21:58 > 0:22:02Hey, everyone, it's Kristin coming at you from StayAtHomeSingle.
0:22:02 > 0:22:06Another quick and dirty trick to boost your range involves
0:22:06 > 0:22:08a little bit of craft work.
0:22:08 > 0:22:09I'm going to try something
0:22:09 > 0:22:16and use the shiny side facing outward to deflect my Wi-Fi.
0:22:16 > 0:22:21This super-simple DIY tip uses tinfoil to reflect
0:22:21 > 0:22:24and direct your Wi-Fi signal where you need it.
0:22:24 > 0:22:27There are loads of guides to do this online,
0:22:27 > 0:22:31just search "how to make a parabolic Wi-Fi extender with tinfoil".
0:22:31 > 0:22:35Once you've finished your little craft project, why not check out
0:22:35 > 0:22:39the before and after speeds on a site like speedtest.net?
0:22:41 > 0:22:43Are you serious?
0:22:43 > 0:22:45Kate Russell's Webscape.
0:22:45 > 0:22:49And just before we leave Digital Revolution here in London,
0:22:49 > 0:22:52I have to show you this. This is one of the major works here,
0:22:52 > 0:22:54it's called The Treachery of Sanctuary.
0:22:54 > 0:22:58And, well, watch this.
0:23:03 > 0:23:07This is the vision of Hollywood musical director Chris Milk.
0:23:07 > 0:23:11Three giant screens which take your silhouette through birth,
0:23:11 > 0:23:14death, and transfiguration.
0:23:14 > 0:23:15Once again,
0:23:15 > 0:23:19it's Kinect motion sensors which turn your body into a shadow,
0:23:19 > 0:23:24which is then created, destroyed, and reborn in front of your eyes.
0:23:24 > 0:23:27You really can lose yourself in this piece.
0:23:27 > 0:23:30It's actually quite emotional to watch yourself being devoured
0:23:30 > 0:23:35by birds and then earning your own pair of wings in the final act.
0:23:36 > 0:23:41And, if you get it just right, you yourself can take to the skies
0:23:41 > 0:23:42and join the flock.
0:23:44 > 0:23:47That was a really weird experience, I have to say.
0:23:47 > 0:23:50And that is it for Click at Digital Revolution.
0:23:50 > 0:23:52I hope you've enjoyed our arty outlook this week.
0:23:52 > 0:23:56For more from us, check out our website:
0:23:56 > 0:23:58If you'd like to get in touch with us, we live
0:23:58 > 0:24:01on Twitter @bbcclick and on the e-mail click@bbc.co.uk.
0:24:01 > 0:24:02Thanks for watching.
0:24:02 > 0:24:05See you next time and I'm off to play some classic video games.
0:24:05 > 0:24:07Do excuse me.