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NEW-MEDIA-CURATING  October 2007

NEW-MEDIA-CURATING October 2007

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Subject:

Re: Exchange Pieces

From:

Andy Polaine <[log in to unmask]>

Reply-To:

Andy Polaine <[log in to unmask]>

Date:

Wed, 10 Oct 2007 15:52:05 +0200

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I collaborated with Lizzie's research (along with the others from the  
Creativity and Cognition Studios at UTS, who I know read this list)  
with my Time Sketches work in Beta_Space.

I've been late lurking on this conversation as I've been very busy  
this week, but it's an issue and area close to my heart. For me, at  
least, sustained audience interaction and engagement, where the  
interactive experience *is* the work is central to everything. The  
visual, physical or auditory elements of the work are usually  
peripheral to that interactive experience - artefacts of it, if you  
like.

I come from more of an interaction design/arts crossover background,  
so mainly interested in hooking people out of their everyday actions  
and monotony in order for them to enter a more playful state. This  
might just be for a couple of minutes, but that's quite a long time  
compared to how long most people (most people not on this list,  
probably) spend in front of a Picasso.

The balance of action > reaction > interaction is still something  
that's very hard to pin down or write rules about (that's my PhD  
topic, incidentally). Mostly it's trial and error and some of  
Lizzie's work has been about taking some of the prototyping rigor  
that interaction designers use and applying it to the development of  
interactive artworks (I'm sure she'll correct me if I've  
misrepresented her here). It's perhaps a different mentality - when  
someone doesn't 'get' the work, I see it as my fault not theirs.

I try very hard to try and entice and seduce them into interacting  
and camera-based interactives are so popular, I think, because  
they're both intuitive in terms of the interface (the body) and  
alluringly narcissistic, both of which engage 'passers by' quickly  
and then keep people interacting. Some kind of instant response and  
feedback is useful too.

UVA's piece, Hereafter, is a simple but really well-executed example  
of this in action: http://www.uva.co.uk/archives/57

Best,

Andy

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Andy Polaine

http://playpen.polaine.com
http://www.omnium.net.au
http://www.antirom.com
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

On 10/10/2007, at 2:58 PM, Mike Stubbs wrote:

> Curator/researcher Lizzie Mullers work with artist George Khut  
> amongst other artists, exemplifies a rigor in analysing feedback  
> and interaction and if she is listening might contribute
>
> A fair bit of work around Keith Armstrongs work, Intimate  
> Transactions also made a serious investigation into how the work  
> was relating and those findings were quickly assimilated into the  
> development of interface and presentation through a quick series of  
> iterations - Keith has recontly publsihed a book of the same name  
> capturing the views of a number of contributors to the process and  
> makes good reading in relation to the current thread
>
> best wishes
>
> Mike Stubbs
> Director
> FACT (Foundation for Art and Creative Technology)
>
>

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