Open prototyping is presented as a conceptual and methodological framework for artistic practice and public participation that bridges the space between technology and society and contributes to city and technology innovation. Such practices can make ideas about the future tangible and realize different configurations of infrastructures, data, situations and people. Many works here are boundary objects, taking place in grey zones between disciplines and sectors. The article may thus deepen understanding at the fault lines between art and innovation and ways in which art can shape the direction of technology development.

The authors outline and reflect upon a new research agenda on participatory mass observation and citizen science as an introduction to the 3 project outlines in this special section of Transactions.

Climate Bubbles was a playful, participatory mass observation project on local climate. Bubble blowing games were devised to enable people across the city of Manchester to test air flow circulation and, by sharing the results online, enabled the Met Office to create a snapshot of the effect the Urban Heat Island has on wind.

Biotagging used audio-visual equipment to engage a range of individuals in ‘tagging’ plants and animals with specific and local meaning to them. This was an experiment in subverting conventional approaches to biodiversity monitoring with the aim of expanding ideas of both biodiversity and citizen science.

100 Years of Climate Change is an artwork inspired by the insight that we might experience 100 years of climate change by taking a short walk of 100 metres. Investigation of the local impacts of the Urban Heat Island effect culminated in a night-time audio walk to open up awareness of the urban climate.

In this note we explore the organisation of creative, practice-led projects and the variety of research outcomes they produce, in order to question assumptions about their potential benefits.

ABSTRACT The author discusses the field of locative arts, focusing on works and interests from 2003 to 2004. An overview is presented of the artistic project types found within this field, and the author considers in depth a number of issues such as how projects are shaped by their reliance on positioning technologies and the importance of the social within this area of practice.