Ambient interaction and situational influence: case studies in public sites.

An audience's direct physical intervention is widely believed to be instrumental in the field of interactive art. However, this long established expectation faces new challenges through the increasing accessibility of a growing diversity of interactive technologies and ubiquitous smart media. Such innovations are often fully integrated components of interactive public artworks, many of which do not directly involve audiences or individuals as key agents in the functional or aesthetic realisation of the work. Based on three case studies of interactive artworks in public places, this article identifies an important characteristic of interactivity in interactive art, through the largely unexplored concept of 'Ambient Interaction' in which artworks are embodied and enacted through environmental conditions and situational influences rather than exclusively through people's intentional and direct physical engagement

Performative Social Science

Performative Social Science is positioned within the current era of crosspollination from discipline to discipline. Practitioners from the Arts and Humanities look to the Social Sciences for fresh frameworks, whist Social Science practitioners explore the Arts for potential new tools for enquiry and dissemination. Performative Social Science is defined and the similarities and differences between PSS and Arts-based Research (ABR) are delineated. The history of PSS is then outlined and its development, particularly at the Centre for Qualitative Research at Bournemouth University in the United Kingdom, is reviewed. Relational Aesthetics is then described in depth as the theoretical basis and grounding of Performative Social Science. Relational Aesthetics (Bourriaud, 2002) offers a theoretical ground for the complexities of connections across seemingly disparate disciplines such as the Arts and Social Sciences and for further exploration of the synergies between both disciplines as well as communities beyond the academy. An example of a large, three-year nationally funded project, culminating with the production of an award-winning short biopic, RUFUS STONE, is outlined as a prime example of a multi-method approach to social science research which includes tools from the arts in its progress and outputs. The entry concludes with goals and aspirations for Performative Social Science in the future