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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:

Sat, 13 Oct 2007 11:39:15 +0200

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Hi all - not sure that this got through before as I sent it from the  
wrong e-mail address. Sorry if you've already read it once:

Joachim and Lizzie's points are spot on in terms of being aware of  
the appropriateness of interaction in time and space. For me one of  
the pieces I always come back to is Lozano-Hemmer's Body Movies,  
which engages on various levels both in terms of content but also  
time, scale and space and I think is very successful in spanning  
immediate interactions and longer-term engagement.

Initial passers by naturally notice the giant spectacle of it (as do  
those who live and work in the area) and most of the immediate  
interactions are playing with one's own shadow cast from the huge  
spotlights. Then there appears to come a moment of interaction with  
other interactors and their shadows. Later the interactors start to  
discover the projected figures in the shadows and the system behind  
the interaction (which is also explained on a small screen on the  
building).

This is, I find, a hard balance to strike and takes a lot of fine  
tuning. It has to do with the space, the people flow in the space,  
the time of day, etc. Body Movies works very well in this regard.

Best,

Andy


On 12/10/2007, at 3:40 PM, Beryl Graham wrote:

> Dear List,
>
> Greetings from Urban Screens in Manchester, where we've been  
> discussing both 'manners of engagement' introduced on this list:
>
>>  engagement in two manners: in its relation to when a response is  
>> given to
>> participant input and in relation to keeping a momentum throughout  
>> the experience.
>
> Firstly, on time and momentum: Joachim Sauter's presentation of  
> some elegant work from Art+Com was coincidentally arranged in two  
> sections of examples - fast and slow media  which reflected  
> different approaches to working in busy or quieter public spaces.  
> In a busy German railway station, for example, destination place  
> names (including concentration camp destinations) are projected  
> briefly as moving 'labels' onto departing train carriages. On a  
> walkway leading to a transport station, electronic ripples spread  
> into real ripples in a water feature, and encouraged a pause for  
> thought during transit. Michael Joroff also showed some examples of  
> proposed bus stops where waiting time could be spent on computer  
> terminals. Ingrid Smit testified that sometimes, all that large  
> outdoor screens gave the audience was a stiff neck from looking up!
>
> During the discussion of the panel that I was moderating, a pattern  
> was identified that a large number people could be engaged in a  
> public place, but usually for short periods of time such as with  
> the World Cup football in Korea. Mike Stubbs testified that smaller  
> but regular audiences could be built over a longer period of time,  
> for example  on the screen in Federation Square in Melbourne  
> Australia.
>
> In a later poster session Ava Fatah of the MSc Adaptive  
> Architecture course at University College London used research  
> methods from city planning to identify levels of 'intensity' of  
> interaction.
>
> The very cool 'Simasticus' by Charles Earl Love Just et al. uses  
> Sims-type icons and games projected onto the pavement in New York  
> area, anyhting from soccer to speech bubbles and noughts and  
> crosses.  He noted how return visitors become more sophisticated...
>
> So, a brief roundup so far - any responses from CRUMBers?
>
> yours,
>
>
> Beryl
>
>

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