Media Architecture and Interactive Art Installations Stimulating Human Involvement and Activities in Public Spaces (original) (raw)
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In this collection of essays, we advance the notion of urban interfaces to explore how situated media, art, and performances (co-)constitute and (co-)construct the public spaces of our mediatized cities. Central is the question how urban interfaces may act as privileged sites to negotiate contemporary frictions in and about these spaces – frictions around such issues as digitization and datafication, privatization and commercialization, individualization, and immigration. This issue investigates how these negotiations take shape and contribute to understandings of the role of art and technology in public space.
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In public art, the paradigm is shifting from 'look but don't touch' toward interactive displays and creations that involve visitors. Accordingly, this study examined some of the factors that lead audiences to interact and engage with public art. Systematic observations of the "users" of 11 public art sculptures were conducted in Brisbane, Australia. The investigation revealed that the design features of public art are key to encouraging or deterring visitors. Interaction levels are higher on weekends than on weekdays whereas factors such as the time of day and the location of artworks (parkland, CBD, or neighbourhood) are less influential.
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Art in public space as a tool of social inclusion
Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych, 1970
What would art be if it were not viewed by people and could not influence the environment? Without the audience and spectators, it would be nothing, therefore it should be accessible and “graspable” for everyone. Elements of art placed in urban space have always enriched the “urban tissue”, providing man with many positive experiences. They enter into a dialogue with the city’s inhabitants, contribute to the growth of the its potential, and at the same time, influence all the senses of human beings. Art in urban space influences the perception of its audience, encourages dialogue, and creates a platform for better understanding of people’s needs and their functioning in the public sphere. It also plays an important role in the process of socialisation of the society, regardless of where it is exhibited.
ARTISTIC AND CULTURAL ACTIONS IN PUBLIC SPACES: FROM SPECTACLES TO LIVED CITIES
Observing recent artistic actions in public spaces as social and urban practices, our research aims to have a broad comprehension of their actual potential in maintaining public spaces’ main functions and in inserting new processes for discussing and creating collective the city. Analysing the past uses of art and culture as strategies for city development and its consequences in inducing the transformation of historic centres into emptied “spectacles”, we had observed recent artistic actions in Rio de Janeiro as part of a global process of renewed resistance to this process, defending art as a citizen right and as a way to discuss a city in transformation. Rio de Janeiro had recently passed by several urban transformations, due to big events like 2014 World Cup and 2016 Olympic Games. Since Barcelona was promoted as the model to inspire Rio de Janeiro, we had searched for study cases of artistic actions in this city. Based in social and urban theories that relate city, art and culture, we intended to define these recent artistic actions and compare study cases in both cities as a way of understanding recent their potential in maintaining and creating collectively the city, especially its historic centres, preventing them to be spectacles and returning them to be lived places.
190-199 in Susa Pop, Tanya Toft, Nerea Calvillo, Mark Wright (eds.), What Urban Media Art Can Do: Why, When, Where & How. , 2016
In response to the question what urban media art can do, and what we can do with urban media art, I want to approach urban media art – specifically media façades and urban screens – as surfaces for interfacing with and within urban spaces. To do justice to their social (“inter”) and dynamic (“-ing”) aspects, I take the interface, or the active verb interfacing, as a concept that allows us to examine the role of the urban media art as reflexive sites of today’s information society – driven by the ambitions of public participation and shared access. As a concept it theorizes how “access” is always already an active form of exchange – a social issue, especially when taking place in public spaces. On the other hand, the location-specificity of urban media art focuses the attention on the temporality as well as materiality of interfacing. Interface, here, functions as object-concept: a material object as well as a theoretical concept.
What Urban Media Art Can Do - Why When Where & How
What Urban Media Art Can Do - Why When Where & How, 2016
Urban media art is possibly one of the most momentous expansions within the field of contemporary public art. Referring to various forms of media-aesthetic, artistic engagement in urban environments and evolving from a mix of genealogies of media art, avant-garde, architecture, urban development, design and technology, and biology, urban media art creates a space in which artists make, utilize and critically explore innovations in software and technology to create artworks, installations and situations in response to the urban discourses and urgencies of our time. What Urban Media Art Can Do – Why When Where and How? engages leading thinkers, artists, curators, architects and designers in an exploration of the aesthetic, theoretical, technological and practical conditions of what urban media art can do. The publication considers artistic responses to current urban threats and discourses in a time characterised by specific technological literacies and constructions of meaning, contextualised within theoretical perspectives. The publication departs from the global, exploratory research undertaken by the Connecting Cities Network into media art’s contribution to urban culture and environments, architecture and co-creation of cities (2013-2016). It features a number of recent artworks and urban media environments from around the world, which critically engage with geospatial, (trans)local, hybrid, intelligent urban contexts and visions for digital placemaking. These artworks contribute to developing the still-emerging domain of urban media art. New and classic benchmark essays by Inke Arns, Josef Bares, Moritz Behrens, Maurice Benayoun, Claire Bishop, Martin Brynskov, Sandy Claes, Matthew Claudel, Marcus Foth, Eric Kluitenberg, Susa Pop, Carlo Ratti, Ava Fatah gen. Schieck, Mark Shepard, Henriette Steiner, Norbert Streitz, Tanya Toft, Martin Tomitsch, Andrew Vande Moere, Kazys Varnelis, Kristin Veel, Nanna Verhoeff, Martijn de Waal, Peter Weibel, Katharine Willis, Niels Wouters, Mark Wright, and Soenke Zehle outline major historical moments and critical concerns relating to the current transformation of society in our digital era, to which urban media art respond. Edited by Susa Pop, Tanya Toft, Nerea Calvillo and Mark Wright Published by av edition, 2016. ISBN: 978-3-89986-255-3
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This article looks at artistic interventions as impulses for urban innovation. It investigates their ability to create the conditions for new forms of engagement, influence, rethink or enable new kinds of cooperation or experimental ideas to approach the urban context. Two examples are examined, focusing on their production and the emergence of new roles at the intersections of disciplines or in processes of co-creation. The architects and designers involved in this process become "intermediate actors". Their doing shifts from creating spaces to creating experiences and new public interfaces where city-making and social engagement is re-imagined, discussed and tested. The artistic interventions selected show new formats established in or at the intersection with public space. As catalysts for transformation processes they contribute to an urban and cultural knowledge creation and address a shift of focus in approaches towards an urban context.
Media Façades: Augmenting Urban Locations through Interaction
20th International Symposium on Electronic Art (ISEA), 2014
Media façades incorporate new technologies to augment urban space, inspiring people to renew their relationship with place, connection to location, cultural identity and sense of belonging. With emerging new technological applications, artists and designers are being called to transfigure public space, making it interactive by transforming the urban fabric into a dynamic tool. In this paper, we analyse how people reinvent their location by examining two contemporary international interactive media façades; the Digital Wall in Central Park in Sydney, and Islamic Design on Metro stations in Dubai.