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I want to briefly throw in a few thoughts in response to the last posts on Exchange Pieces: I was thinking about work where the actual content of the artwork and the desire on part of the maker is to address ‘limits’ of inter-activity and engagement. Where – beside of using technology in a so-called productive way – the constructed experience (re David Rokeby) might refer back to ruptures in perception, to not-so-smooth encounters, etc. So that a criticality of the work would be located somewhere else... What Jodi is doing might still be exemplary here, but I wonder where affects produced by work like Jodi’s might appear similarly in different forms, “design”, architectures.... How is the time of the audience crucial for the work? Or how do the time of the work and the time of the audience confront and confound each other? There is also the point of reflection when you are no longer experiencing the work in real time anymore (the work lives beyond the actual physical engagement, and a “success” of the work cannot be reduced to the “event”?). Beryl mentioned in an earlier post the idea of an “intensity” of interaction, which could also relate to a work’s vibrations, inside the actual space, but also to the outside, and to the after-effects the work potentially carries with it. The aspect of memory, re-calling sensation, or the virtual experience, would then become the more “concrete” and actual experience. Personally it often takes me quite some time after visiting a show, or taking part in an event, that ideas occur, that I am trying to figure out my thoughts on the work, and it is often the conflicting site that interests me. So thinking rather beside “real-time” systems and experiences, how do they influence our ideas about time and space and the experience of the mediating work? ... any useful experiences from anyone on the list concerning different aspects of time, e.g. event, or duration, within the media work? best ver