Analyzing the aesthetics of participation of media architecture (original) (raw)
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Proceedings of the 4th Media Architecture Biennale Conference on Participation - MAB '12, 2012
Pervasive media and interactive technologies have become inseparable not only from our everyday life but also from architecture and city spaces. However, the generic use of new technologies in the design process and material production that affects contemporary architecture, results in buildings that become mere visual objects losing their hapticity and non-visual qualities. Despite the substantial advancement in the research studies on human sensorial perception, the potential of cities to affect and co-create our sensuous experiences has diminished dramatically. The paper examines recent artistic practices that involve new media technologies focusing on their potential to create interactive environments that due to their multisensory qualities induce people to participate through their senses. The steadily growing interest in exploration of the role of media and interactive technologies in generating sensorial experiences establishes an important direction toward new kinds of their applications in architecture and city spaces. This work emphasizes the power of media and interactive technologies as important tools that incorporated in architecture demonstrate the ability to enrich the sensory perception of the cities.
Media Facades Beyond Interaction
Proceedings of OzCHI, 2008
As part of a the research project Digital Urban Living [www.digitalurbanliving.dk\], we have taken part in the design of two large-scale installations that employ interactive technologies to facilitate participation and foster social interactions in public, urban settings. We present the two cases, Aarhus by Light and Projected Poetry, and discuss the future trajectory of our work in this field, as well as some of our findings regarding the challenges of designing large-scale public interactive installations. In doing so, we specifically highlight the possibilities in relation to designing for affective experience and engaging interaction that advocate for a longterm interactive experience.
Crafting participation: designing ecologies, configuring experience
Visual Communication, 2002
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.
Framing the Media Architectural Body
2012
This paper develops an argument about transformations in the experience of the urban as a consequence of the rise in, so called, augmented public space. Contemporary media spaces of which media architecture now plays center stage. The argument is this: that through artistic and creative interventions that deploy these technologies and the spaces that they are embedded within can have a direct impact on issues such as the mediation of place and locality; the central role of the body as a frame in contemporary media spaces; renegotiating distinctions between the virtual and real. Central to this argument is the idea that the ‘site specific’ nature of these environments is such that, rather than ‘participants’ being displaced from their physical surroundings, as is so often implicit in discussions of the consumption of media technologies in urban space, media architecture and associated technologies, can in fact be seen to embed ‘participants’ even further into their locality and produce an enhanced sense of place.
CBU International Conference Proceedings, 2016
This paper examines the potential for media architecture and interactive art installations to stimulate human involvement and activities in public spaces. On the basis of theoretical approaches, case studies and interdisciplinary surveys, the paper provides insight into how screens projecting media and interactive installations in city spaces can inspire people to become active on many levels. The research is focused, both on temporary and permanent art installations, that support new technologies to encourage people to interact with art objects and become actors in an urban performance. Media and interactive art can positively contribute to the urban landscape, foster public involvement, increase intensity of public life, and effectively enhance the identity of urban communities. The paper shows that, despite this potential for media architecture and interactive art projects, specific pre-conditions are needed for their success in urban environments. The paper focuses on the conver...
Interfaces of Media Architecture
43-60 in Alexander Wiethoff and Heinrich Hussmann (eds.), Media Architecture: Using Information and Media as Construction Material, 2017
In my contribution I want to approach media architecture – specifically media façades and urban screens – as urban interfaces. In particular, I want to do justice to the social (“inter”) and dynamic (“-ing”) aspect of interfacing: in time – “historical”, temporary, and processual – and place – located, positioning, communicating. When departing from the question of “access” – the question raised by this book series – in my consideration of the specificities of media architecture, I wish to combine two perspectives. On the one hand, I consider the medium-specificity of architecture, and on the other, the architectural specificity of location-based and public forms of urban media. Hence, I take interface, or to be more precise, the verb interfacing as a concept that allows us to grasp the role of media architecture (and architectural media) in today’s information society – driven by the ambitions of shared access and of public participation: an open society of access for all. In particular, interfacing as a concept theorizes how “access” is always already an active form of exchange. Indeed, in the Age of Access, access is also a social issue, especially when taking place, literally, in urban public spaces. This literal, concrete “taking place” focuses the attention on the temporality as well as materiality of interfacing. The interface thus functions as a material object as well as a concept.
Streaming Spaces – A short expedition into the space of media-active façades
2010
ional history after all has produced our human cognition, and there are serious indications that the cultural and technical history goes on continuously accelerating the development of our cognitive capacities. Hence let us close with another portable quote from Hans Hollein’s radical manifesto: “Therefore, a genuine architecture of our time is about to redefine itself as a medium, as well as to broaden the scope of its means. ... All are architects. All is architecture.”
Designing performativity for mixed reality installations
FORMakademisk, 2010
This article takes up the concept of performativity prevalent in the humanities and applies it to the design of installation arts in mixed reality mode. Based on the design, development and public access to two specific works, the concept is related to a form of research by design. We argue that the concept of performativity may be further usefully employed in investigations (design and research, artistic and public) into digital arts where complex intersections between concepts, technologies, dramaturgy, media and participant actions are in flux and together constitute the emergence and experience of a work. Theories of performativity are related to these two works in an argument that further suggests there is room in research by design to also include 'performative design'. The article is the result of a wide-ranging interdisciplinary collaboration and aims to convey some sense of that in its reporting style, content and analysis.