Right. I agree about the physical interface being specific to the
work, ideally. I think this is one of the important things that
Christiane Paul and artists tried/did with Data Dynamics.
> -----Original Message-----
> From: Curating digital art - www.newmedia.sunderland.ac.uk/crumb/
> [mailto:[log in to unmask]]On Behalf Of
> reiner strasser
> Sent: Thursday, May 17, 2001 7:41 AM
> To: [log in to unmask]
> Subject: Re: baltic new media curating seminar
> in an installation - and every digital piece in a
> 'strange' room becomes an
> (artificial - artistic) installation - the environment
> should integrate with
> the piece (and transform its meaning at the same moment).
> you might to prefer to sit on a 'chaiselongue' in front
> of one piece,
> to stand in front of the other, to walk around the next, to
> kneel in front
> of another.
> (i still like my idea of semi-transparent white tents - or
> a japanese desk
> from which you are eating art - from the screen embed in
> the top plate.*)
> [*sponsors well.come ;)]
> in my sight there exists no real concept or has to - but a
> diversity of
> possibities (which reflects the diversity of the art
> (pieces) at the same
> only a short comment
> i put in your hand
> (and maybe mind)
> > I wonder if "soft furniture" is, in fact, an interesting strategy.
> > Graham talks about this in the context of tv and video in
> an essay at
> > http://thegalleriesatmoore.org/publications/grahamdg.shtml.