Jason Cleverly | Falmouth University (original) (raw)
Papers by Jason Cleverly
Visual Communication, 2002
There is a growing interest amongst both artists and curators in designing art works which create... more There is a growing interest amongst both artists and curators in designing art works which create new forms of visual communication and enhance interaction in museums and galleries. Despite extraordinary advances in the analysis of talk and discourse, there is relatively little research concerned with conduct and collaboration with and around aesthetic objects and artefacts, and to some extent, the social and cognitive sciences have paid less attention to the ways in which conduct -both visual and vocal -is inextricably embedded within the immediate ecology, the material realities at hand. In this article, we examine how people in and through interaction with others, explore, examine and experience a mixed-media installation. Whilst primarily concerned with interaction with and around an art work, the article is concerned with the ways in which people, in interaction with each other (both those they are with and others who happen to be in the same space), reflexively constitute the sense and significance of objects and artefacts, and the ways in which those material features reflexively inform the production and intelligibility of conduct and interaction.
Computer-supported cooperative work, 2010
Over the past decade or so we have witnessed a burgeoning interest in developing new forms of eng... more Over the past decade or so we have witnessed a burgeoning interest in developing new forms of engagement with visitors to museums, galleries and science centres. Digital technology has played a critical role in this regard, providing novel means for visitors to view, inspect and reveal exhibits, offering ways to engage with new audiences and potentially extending this engagement beyond the single museum visit [1, 6]. However, in many cases, whilst interesting in their own right, innovative stand-alone interactive ...
There is a growing interest amongst both artists and curators in designing art works which create... more There is a growing interest amongst both artists and curators in designing art works which create new forms of visual communication and enhance interaction in museums and galleries. Despite extraordinary advances in the analysis of talk and discourse, there is relatively little research concerned with conduct and collaboration with and around aesthetic objects and artefacts, and to some extent, the social and cognitive sciences have paid less attention to the ways in which conduct - both visual and vocal - is inextricably embedded within the immediate ecology, the material realities at hand. In this article, we examine how people in and through interaction with others, explore, examine and experience a mixed-media installation. Whilst primarily concerned with interaction with and around an art work, the article is concerned with the ways in which people, in interaction with each other (both those they are with and others who happen to be in the same space), reflexively constitute the sense and significance of objects and artefacts, and the ways in which those material features reflexively inform the production and intelligibility of conduct and interaction.
Emotion in Interaction, 2012
This paper documents a research project demonstrating the potential to engage audiences, promote ... more This paper documents a research project
demonstrating the potential to engage audiences,
promote practitioners and add value to craft work,
through the use of relatively low-cost and accessible
digital communications technologies in the context
of a public exhibition. The project involves: filming,
photographing and editing together audio-visual
material; the creation of a website from which to
access films and leave feedback; and a number of
options for viewing web-based film footage including
Quick Response (QR) codes and smartphone
technology, iPads and a desktop computer to deliver
internet-hosted content.
‘In the Frame’ is an interdisciplinary research project
involving a team of researchers, film-makers and
technologists, and Level 3 Contemporary Craft
students at Falmouth University. It is a pilot study
within Supercrafted,
*
a two year research project at
Falmouth University, exploring and developing online
digital interaction of benefit to craft practitioners
and stakeholders in the craft value chain, including
audiences, customers, makers and suppliers.
A literature review undertaken for Supercrafted sets
out four key themes for forging digital connections
within the craft value chain: dialogue, narrative,
personalisation and community. ‘In the Frame’,
involving the production of short films of student
makers talking about their practice, sits within the
narrative theme and draws upon literature that
highlights: the value of provenance; the use of QR
codes in retail innovation; and the need for a mobile-
first strategy. This paper evaluates ‘In the Frame’
from the perspective of makers, audience and the
researchers, positioning findings in relation to the
literature review. Key notes for discussion arising
from the project fall roughly into the following areas:
the value of providing the provenance of an object
and/or the back story of a maker, the importance of
delivery in an easily accessible video format providing
choice to both maker and audience; the collaborative
nature of the process involved in constructing and
editing film; the relationships between audience,
technology and object viewed in a gallery context.
The paper concludes that this type of intervention
amounts to a new form of audience exhibition
interaction, allowing the audience to encounter the
maker at the same time as the work, disrupting the
distance and silence between audience, maker, and
work often experienced within exhibition settings.
It argues that such interventions provide benefits
to both makers and audience. As a pilot project,
‘In the Frame’ provides a basis from which to
develop innovative methods for curating contextual
information in a digital format, viewed alongside or
even integrated within, craft objects, the potential for
which is discussed in the conclusion.
In recent years there have been a growing interest in creating interdisciplinary collaboration be... more In recent years there have been a growing interest in creating interdisciplinary collaboration between artists, scientists, curators and academics, and we have witnessed the development of a number of unique, site-specific initiatives in museums and art galleries.
In this paper, we discuss the background and ambitions that have informed the creation and installation of an interactive craftwork designed to engender new forms of visitor engagement. In particular we discuss the design development and implementation of Interactive Table and Escritoire, created for the House of Words exhibition at Dr Johnson’s House, London. 2009.
This project was formed around an invitation to submit a proposal for an exhibition at Dr Johnson’s House London. The ‘House of Words’ exhibition was held during summer of 2009 to celebrate the 300th anniversary of Dr Johnson's birthday. Dr Johnson is famous for compiling the most influential dictionary in the history of English language, published in 1755. The house built, in 1700 and one of the few residential houses of its type still surviving, containing panelled rooms, period furniture and paintings.
A design project proposal initiated by Jason Cleverly, an applied artist with a track record of working on interactives and interpretives for museum and art galleries (Heath, C., Luff, P., vom Lehn, D., Hindmarsh, J. & Cleverly, J. 2002) soon became an interdisciplinary project, Cleverly, having to adapt to working within the constraints of web servers, virtual machines and high-resolution print, drew on the support of Tim Shear, a research technologist. The motivating rational for this paper is to document the life cycle of a collaborative design project and to contribute an ongoing investigation understanding of the attendant design sensitivities arising from this project.
We will evaluate the integration of: Digital Pen and Paper, live website, decorative craftwork and the resultant novel augmented paper based interface. We hope to examine the design processes as sum of it collaborators, which include: the applied artist, technologist, commercial partner, museum curator/moderator, social/computer scientists and museum visitors. Interdisciplinary collaboration enables the production of works of craft that creates and encourages contributory co-participation and collaboration. The paper will explore these forms of collaboration that both inform the production and response to the installations and discuss the ways in which the different disciplines provide the foundation to rethinking how people respond to works of art and craft.
Computer Supported Cooperative Work, Jan 1, 2005
This paper examines the use of a series of three low tech interactive assemblies that have been e... more This paper examines the use of a series of three low tech interactive assemblies that have been exhibited by the authors in a range of fairs, expositions and galleries. The paper does not present novel technical developments, but rather uses the low tech assemblies to help scope out the design space for CSCW in museums and galleries and to investigate the ways in which people collaboratively encounter and explore technological exhibits in museums and galleries. The bulk of the paper focuses on the analysis of the use of one interactive installation that was exhibited at the Sculpture, Objects and Functional Art (SOFA) Exposition in Chicago, USA. The study uses audio–visual recordings of interaction with and around the work to consider how people, in and through their interaction with others, make sense of an assembly of traditional objects and video technologies. The analysis focuses on the organised practices of ‘assembly’ and how ‘assembling’ the relationship between different parts of the work is interactionally accomplished. The analysis is then used to develop a series of ‘design sensitivities’ to inform the development of technological assemblies to engender informal interaction and sociability in museums and galleries.
This paper examines the use of an interactive artwork that was designed by members of the researc... more This paper examines the use of an interactive artwork that was designed by members of the research team and exhibited at the Sculpture, Objects and Functional Art (SOFA) Exposition in Chicago, USA. The paper uses audio-visual recordings of interaction with and around the work to consider how people encounter and make sense of an assembly of traditional objects and video technologies. The analysis of action and interaction is used to develop a series of 'design sensitivities' to inform the development of technological assemblies to engender informal interaction and sociability in museums and galleries.
Visual Communication, 2002
There is a growing interest amongst both artists and curators in designing art works which create... more There is a growing interest amongst both artists and curators in designing art works which create new forms of visual communication and enhance interaction in museums and galleries. Despite extraordinary advances in the analysis of talk and discourse, there is relatively little research concerned with conduct and collaboration with and around aesthetic objects and artefacts, and to some extent, the social and cognitive sciences have paid less attention to the ways in which conduct -both visual and vocal -is inextricably embedded within the immediate ecology, the material realities at hand. In this article, we examine how people in and through interaction with others, explore, examine and experience a mixed-media installation. Whilst primarily concerned with interaction with and around an art work, the article is concerned with the ways in which people, in interaction with each other (both those they are with and others who happen to be in the same space), reflexively constitute the sense and significance of objects and artefacts, and the ways in which those material features reflexively inform the production and intelligibility of conduct and interaction.
Computer-supported cooperative work, 2010
Over the past decade or so we have witnessed a burgeoning interest in developing new forms of eng... more Over the past decade or so we have witnessed a burgeoning interest in developing new forms of engagement with visitors to museums, galleries and science centres. Digital technology has played a critical role in this regard, providing novel means for visitors to view, inspect and reveal exhibits, offering ways to engage with new audiences and potentially extending this engagement beyond the single museum visit [1, 6]. However, in many cases, whilst interesting in their own right, innovative stand-alone interactive ...
There is a growing interest amongst both artists and curators in designing art works which create... more There is a growing interest amongst both artists and curators in designing art works which create new forms of visual communication and enhance interaction in museums and galleries. Despite extraordinary advances in the analysis of talk and discourse, there is relatively little research concerned with conduct and collaboration with and around aesthetic objects and artefacts, and to some extent, the social and cognitive sciences have paid less attention to the ways in which conduct - both visual and vocal - is inextricably embedded within the immediate ecology, the material realities at hand. In this article, we examine how people in and through interaction with others, explore, examine and experience a mixed-media installation. Whilst primarily concerned with interaction with and around an art work, the article is concerned with the ways in which people, in interaction with each other (both those they are with and others who happen to be in the same space), reflexively constitute the sense and significance of objects and artefacts, and the ways in which those material features reflexively inform the production and intelligibility of conduct and interaction.
Emotion in Interaction, 2012
This paper documents a research project demonstrating the potential to engage audiences, promote ... more This paper documents a research project
demonstrating the potential to engage audiences,
promote practitioners and add value to craft work,
through the use of relatively low-cost and accessible
digital communications technologies in the context
of a public exhibition. The project involves: filming,
photographing and editing together audio-visual
material; the creation of a website from which to
access films and leave feedback; and a number of
options for viewing web-based film footage including
Quick Response (QR) codes and smartphone
technology, iPads and a desktop computer to deliver
internet-hosted content.
‘In the Frame’ is an interdisciplinary research project
involving a team of researchers, film-makers and
technologists, and Level 3 Contemporary Craft
students at Falmouth University. It is a pilot study
within Supercrafted,
*
a two year research project at
Falmouth University, exploring and developing online
digital interaction of benefit to craft practitioners
and stakeholders in the craft value chain, including
audiences, customers, makers and suppliers.
A literature review undertaken for Supercrafted sets
out four key themes for forging digital connections
within the craft value chain: dialogue, narrative,
personalisation and community. ‘In the Frame’,
involving the production of short films of student
makers talking about their practice, sits within the
narrative theme and draws upon literature that
highlights: the value of provenance; the use of QR
codes in retail innovation; and the need for a mobile-
first strategy. This paper evaluates ‘In the Frame’
from the perspective of makers, audience and the
researchers, positioning findings in relation to the
literature review. Key notes for discussion arising
from the project fall roughly into the following areas:
the value of providing the provenance of an object
and/or the back story of a maker, the importance of
delivery in an easily accessible video format providing
choice to both maker and audience; the collaborative
nature of the process involved in constructing and
editing film; the relationships between audience,
technology and object viewed in a gallery context.
The paper concludes that this type of intervention
amounts to a new form of audience exhibition
interaction, allowing the audience to encounter the
maker at the same time as the work, disrupting the
distance and silence between audience, maker, and
work often experienced within exhibition settings.
It argues that such interventions provide benefits
to both makers and audience. As a pilot project,
‘In the Frame’ provides a basis from which to
develop innovative methods for curating contextual
information in a digital format, viewed alongside or
even integrated within, craft objects, the potential for
which is discussed in the conclusion.
In recent years there have been a growing interest in creating interdisciplinary collaboration be... more In recent years there have been a growing interest in creating interdisciplinary collaboration between artists, scientists, curators and academics, and we have witnessed the development of a number of unique, site-specific initiatives in museums and art galleries.
In this paper, we discuss the background and ambitions that have informed the creation and installation of an interactive craftwork designed to engender new forms of visitor engagement. In particular we discuss the design development and implementation of Interactive Table and Escritoire, created for the House of Words exhibition at Dr Johnson’s House, London. 2009.
This project was formed around an invitation to submit a proposal for an exhibition at Dr Johnson’s House London. The ‘House of Words’ exhibition was held during summer of 2009 to celebrate the 300th anniversary of Dr Johnson's birthday. Dr Johnson is famous for compiling the most influential dictionary in the history of English language, published in 1755. The house built, in 1700 and one of the few residential houses of its type still surviving, containing panelled rooms, period furniture and paintings.
A design project proposal initiated by Jason Cleverly, an applied artist with a track record of working on interactives and interpretives for museum and art galleries (Heath, C., Luff, P., vom Lehn, D., Hindmarsh, J. & Cleverly, J. 2002) soon became an interdisciplinary project, Cleverly, having to adapt to working within the constraints of web servers, virtual machines and high-resolution print, drew on the support of Tim Shear, a research technologist. The motivating rational for this paper is to document the life cycle of a collaborative design project and to contribute an ongoing investigation understanding of the attendant design sensitivities arising from this project.
We will evaluate the integration of: Digital Pen and Paper, live website, decorative craftwork and the resultant novel augmented paper based interface. We hope to examine the design processes as sum of it collaborators, which include: the applied artist, technologist, commercial partner, museum curator/moderator, social/computer scientists and museum visitors. Interdisciplinary collaboration enables the production of works of craft that creates and encourages contributory co-participation and collaboration. The paper will explore these forms of collaboration that both inform the production and response to the installations and discuss the ways in which the different disciplines provide the foundation to rethinking how people respond to works of art and craft.
Computer Supported Cooperative Work, Jan 1, 2005
This paper examines the use of a series of three low tech interactive assemblies that have been e... more This paper examines the use of a series of three low tech interactive assemblies that have been exhibited by the authors in a range of fairs, expositions and galleries. The paper does not present novel technical developments, but rather uses the low tech assemblies to help scope out the design space for CSCW in museums and galleries and to investigate the ways in which people collaboratively encounter and explore technological exhibits in museums and galleries. The bulk of the paper focuses on the analysis of the use of one interactive installation that was exhibited at the Sculpture, Objects and Functional Art (SOFA) Exposition in Chicago, USA. The study uses audio–visual recordings of interaction with and around the work to consider how people, in and through their interaction with others, make sense of an assembly of traditional objects and video technologies. The analysis focuses on the organised practices of ‘assembly’ and how ‘assembling’ the relationship between different parts of the work is interactionally accomplished. The analysis is then used to develop a series of ‘design sensitivities’ to inform the development of technological assemblies to engender informal interaction and sociability in museums and galleries.
This paper examines the use of an interactive artwork that was designed by members of the researc... more This paper examines the use of an interactive artwork that was designed by members of the research team and exhibited at the Sculpture, Objects and Functional Art (SOFA) Exposition in Chicago, USA. The paper uses audio-visual recordings of interaction with and around the work to consider how people encounter and make sense of an assembly of traditional objects and video technologies. The analysis of action and interaction is used to develop a series of 'design sensitivities' to inform the development of technological assemblies to engender informal interaction and sociability in museums and galleries.