2,498 research outputs found
The Perpetuation of Site-Specific Installation Artworks in Museums
Site-specific installations are created for specific locations and are usually intended as temporary artworks. The Perpetuation of Site-Specific Installation Artworks in Museums: Staging Contemporary Art shows that these artworks consist of more than a singular manifestation and that their lifespan is often extended. In this book, Tatja Scholte offers an in-depth account of the artistic production of the last forty years. With a wealth of case studies the author illuminates the diversity of site-specific art in both form and content, as well as in the conservation strategies applied. A conceptual framework is provided for scholars and museum professionals to better understand how site-specific installations gain new meanings during successive stages of their biographies and may become agents for change in professional routines
The Perpetuation of Site-Specific Installation Artworks in Museums
Site-specific installations are created for specific locations and are usually intended as temporary artworks. The Perpetuation of Site-Specific Installation Artworks in Museums: Staging Contemporary Art shows that these artworks consist of more than a singular manifestation and that their lifespan is often extended. In this book, Tatja Scholte offers an in-depth account of the artistic production of the last forty years. With a wealth of case studies the author illuminates the diversity of site-specific art in both form and content, as well as in the conservation strategies applied. A conceptual framework is provided for scholars and museum professionals to better understand how site-specific installations gain new meanings during successive stages of their biographies and may become agents for change in professional routines
An aesthetics of touch: investigating the language of design relating to form
How well can designers communicate qualities of touch?
This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makersâ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designersâ capabilities
Dance of the bulrushes: building conversations between social creatures
The interactive installation is in vogue. Interaction design and physical installations are accepted fixtures of
modern life, and with these technology-driven installations beginning to exert influence on modes of mass
communication and general expectations for user experiences, it seems appropriate to explore the variety of
interactions that exist. This paper surveys a number of successful projects with a critical eye toward assessing
the type of communication and/or conversation generated between interactive installations and human
participants. Moreover, this exploration seeks to identify whether specific tactics and/or technologies are
particularly suited to engendering layers of dialogue or âconversationsâ within interactive physical computing
installations. It is asserted that thoughtful designs incorporating self-organizational abilities can foster rich
dialogues in which participants and the installation collaboratively generate value in the interaction. To test
this hypothesis an interactive installation was designed and deployed in locations in and around London.
Details of the physical objects and employed technologies are discussed, and results of the installation sessions
are shown to corroborate the key tenets of this argument in addition to highlighting other concerns that are
specifically relevant to the broad topic of interactive design
Location-based technologies for learning
Emerging technologies for learning report - Article exploring location based technologies and their potential for educatio
RFID Gesture Generating Robot [catalogue]
The installation invites visitors to touch a suitable RFID card, such as an Oystercard, against a reader and then generates a unique and repeatable gesture in space according to the serial number of the card, in a movement reminiscent of a conductorâs baton or magicianâs wand. It explores the representation of data using physical movement and the generation of elegant motion
Digital Poetry: Comparative Textual Performances in Trans-medial Spaces
This study extends work on notions of space and performance developed by media and poetry theorists. I particularly analyze how contemporary technologies re-define the writing space of digital poetry making by investigating the configuration and the function of this space in the writing of the digital poem. Thus, I employ David Jay Bolter's concept of "topographic" digital writing and propose the term "trans-medial" space to describe the computer space in which the digital poem exists, emerges, and is experienced. With origins in Italian Futurism, the literary avant-garde of the first half of twentieth century, digital poetry extends the creative repertoire of this experimental poetry tradition using computers in the composition, generation, or presentation of texts. Because these poems convey a perception of space as changeable and multiple (made of computer screen and code spaces), this "trans-medial" space is both self-transformative (forms itself as it self-transforms) and transforming (transforms what it contains). Media scholars such as Espen Aarseth and Stephanie Strickland often explain how computer programming makes such digital works become sites of encounter between agencies such as author, text, or readers. Conversely, I show that this "trans-medial" space is also a mediating agent in the performance of the text along with its readers in the sense that it engages in and with the performance of text. I examine three forms of digital poetry: Gianni Toti's video-poetry, Caterina Davinio's net-poetry, and Loss Pequeno Glazier's JavaScript-based poetry. These Italian and United States poet-scholars are leading figures in digital poetry. As scholars, they articulate the theoretical frameworks of this genre in landmark anthologies. As poets, their digital works are similar in that they are indebted to Italian Futurism; and yet they represent distinct visions of and about poetry in new media spaces. I use their works to think through video-graphic spaces, networked spaces, and scripting spaces as expressions of trans-medial space. In this respect, my comparative analysis opens up new venues for the reading of digital poetry by re-fashioning the concept and the function of the writing space of our digitized world
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