Tangible Interaction Design, Space, And Placejane74726
The document discusses tangible interaction design and how it relates to space and place. It presents a framework for designing tangible interfaces that are embedded in real space. The framework focuses on how tangible interfaces take up physical space, how users must move through real space to interact with them, and how interactions can become performative when observable to others in shared spaces. The framework also addresses how software defines virtual structures while physical space defines physical constraints, and how allowing bodily rituals can enhance user experiences. An example project of a mobile app for exploring an historic estate is discussed in the context of the design framework.
Here are some key points about open and closed form according to Oskar Hansen's theory:
- Open form is about interaction and relationships between elements. The goal is to provide a background and context for other elements/actions, not to dominate.
- Closed form is self-contained and focused on its own form/identity. The goal is to stand out as an individual object rather than interact with its surroundings.
- In open form, you "win" by making the situation better for other players/elements. The game/composition is more important than any individual element.
- In closed form, elements compete with each other for prominence. Winning means standing out as the dominant element rather than contributing to
Prowess-ing the Past: Considering the AudienceRuth Tringham
The aim of this presentation was to shift the focus of 3D modeling in archaeology and cultural heritage to consider the ways in which a more active motivation and engagement of their users (whether professionals or general public) might lead to the long-term sustainability of the models and visualizations. Currently the life expectancy of 3D models in installations or on-line is generally quite short. My argument is that engagement with the models should be measured not so much how many users/visitors a model receives, but in how long and through how many re-visits the users wish to visit the same model. I am guessing that for most users, the visit is a one-time short event. I identify five major strategy foci that might lead to longer and more specific usage of the models and thus to their longer-term sustainability; these are: 1) active user participation, 2) meaningful exploration, 3) cultural presence, 4) multi sensorial experience, and 5) the education of attention, with greatest emphasis given to the latter. I end with idea that these five foci in fact could all be embraced within the gamification of the models, not necessarily as video games, but as media-rich non-linear narratives that go by various terms, such as Walking Simulator, Interactive Digital Stories, and Alternative Reality Games that take advantage of a mixed environment of Augmented and Mixed Reality as well as the more “traditional” Virtual Reality modeling. I finally point out that such gamification could potentially make powerful contributions to draw attention to socio-political and ethical issues of cultural heritage and archaeology.
This design space explores supporting collaborative exploration of self-monitored information through varying degrees of proximal interaction based on the level of personal interaction between the partner and the user. The scale moves from most intimate to least intimate.
The use of sensory ethnography to gain new understandings of visitor emotional experiences and practices at National Trust sites and their implications for future research & management.
Aims:
investigate the meaning places have for people and how people engage with places
open up new approaches to examining peoples’ engagement with landscapes and places through sensory ethnography
communicate the above in a meaningful way that enables the NT to evaluate the possibility of implementing the findings and the methods.
The Cone of Experience is a model that arranges learning experiences from concrete to abstract, with direct experiences like field trips at the bottom and verbal symbols like written words at the top. It was introduced by Edgar Dale in 1946 to show the progression of learning. The cone is not intended to represent degrees of difficulty, but rather degrees of abstraction. When teaching, the goal is to strike a balance between concrete and abstract experiences and not rely too heavily on either, in order to develop students' conceptual understanding and higher-order thinking skills.
This document describes a natural interaction system developed for an archaeological exhibition on the Shawbak castle site in Jordan. The system uses a multi-touch tabletop to allow visitors to intuitively explore multimedia content about the site organized by time period and level of detail. Users can select different eras and zoom levels to view related texts, images and videos. The interface was designed to provide easy access to content and require minimal cognitive effort. It was installed at an exhibition in Italy and received positive feedback from visitors.
1. Visual rhetoric refers to the use of visual symbols to communicate and influence thinking and behavior, similar to how speeches were once used.
2. Images in advertising, television, film, architecture and other media now play a major role in contemporary culture and communication.
3. For an image to be considered visual rhetoric, it must be symbolic, involve human intervention in its creation, and be presented to an audience for the purpose of communication.
Tangible Interaction Design, Space, And Placejane74726
The document discusses tangible interaction design and how it relates to space and place. It presents a framework for designing tangible interfaces that are embedded in real space. The framework focuses on how tangible interfaces take up physical space, how users must move through real space to interact with them, and how interactions can become performative when observable to others in shared spaces. The framework also addresses how software defines virtual structures while physical space defines physical constraints, and how allowing bodily rituals can enhance user experiences. An example project of a mobile app for exploring an historic estate is discussed in the context of the design framework.
Here are some key points about open and closed form according to Oskar Hansen's theory:
- Open form is about interaction and relationships between elements. The goal is to provide a background and context for other elements/actions, not to dominate.
- Closed form is self-contained and focused on its own form/identity. The goal is to stand out as an individual object rather than interact with its surroundings.
- In open form, you "win" by making the situation better for other players/elements. The game/composition is more important than any individual element.
- In closed form, elements compete with each other for prominence. Winning means standing out as the dominant element rather than contributing to
Prowess-ing the Past: Considering the AudienceRuth Tringham
The aim of this presentation was to shift the focus of 3D modeling in archaeology and cultural heritage to consider the ways in which a more active motivation and engagement of their users (whether professionals or general public) might lead to the long-term sustainability of the models and visualizations. Currently the life expectancy of 3D models in installations or on-line is generally quite short. My argument is that engagement with the models should be measured not so much how many users/visitors a model receives, but in how long and through how many re-visits the users wish to visit the same model. I am guessing that for most users, the visit is a one-time short event. I identify five major strategy foci that might lead to longer and more specific usage of the models and thus to their longer-term sustainability; these are: 1) active user participation, 2) meaningful exploration, 3) cultural presence, 4) multi sensorial experience, and 5) the education of attention, with greatest emphasis given to the latter. I end with idea that these five foci in fact could all be embraced within the gamification of the models, not necessarily as video games, but as media-rich non-linear narratives that go by various terms, such as Walking Simulator, Interactive Digital Stories, and Alternative Reality Games that take advantage of a mixed environment of Augmented and Mixed Reality as well as the more “traditional” Virtual Reality modeling. I finally point out that such gamification could potentially make powerful contributions to draw attention to socio-political and ethical issues of cultural heritage and archaeology.
This design space explores supporting collaborative exploration of self-monitored information through varying degrees of proximal interaction based on the level of personal interaction between the partner and the user. The scale moves from most intimate to least intimate.
The use of sensory ethnography to gain new understandings of visitor emotional experiences and practices at National Trust sites and their implications for future research & management.
Aims:
investigate the meaning places have for people and how people engage with places
open up new approaches to examining peoples’ engagement with landscapes and places through sensory ethnography
communicate the above in a meaningful way that enables the NT to evaluate the possibility of implementing the findings and the methods.
The Cone of Experience is a model that arranges learning experiences from concrete to abstract, with direct experiences like field trips at the bottom and verbal symbols like written words at the top. It was introduced by Edgar Dale in 1946 to show the progression of learning. The cone is not intended to represent degrees of difficulty, but rather degrees of abstraction. When teaching, the goal is to strike a balance between concrete and abstract experiences and not rely too heavily on either, in order to develop students' conceptual understanding and higher-order thinking skills.
This document describes a natural interaction system developed for an archaeological exhibition on the Shawbak castle site in Jordan. The system uses a multi-touch tabletop to allow visitors to intuitively explore multimedia content about the site organized by time period and level of detail. Users can select different eras and zoom levels to view related texts, images and videos. The interface was designed to provide easy access to content and require minimal cognitive effort. It was installed at an exhibition in Italy and received positive feedback from visitors.
1. Visual rhetoric refers to the use of visual symbols to communicate and influence thinking and behavior, similar to how speeches were once used.
2. Images in advertising, television, film, architecture and other media now play a major role in contemporary culture and communication.
3. For an image to be considered visual rhetoric, it must be symbolic, involve human intervention in its creation, and be presented to an audience for the purpose of communication.
Exploring interactions in a public toilet aditya pawarAditya Pawar
This document summarizes a research project exploring interactions in public toilets. It discusses two concepts for redesigning public toilets at Efteling, a theme park in the Netherlands. The first concept proposes "permeable space" where toilet walls become transparent in occupied areas to reduce claustrophobia. The second concept introduces a "privacy gradient" through semi-private social spaces and transparency levels that gradually transition users from public to private areas. Research involved interviews and sessions with children and adults to understand experiences and concerns around public toilets.
Jackie Calderwood is a PhD student researching moving image and pervasive media. She has created several mediascapes including e-merge, Soundlines, and Ambience. E-merge was a filmmaking mediascape in St. James's Park where the public could walk, film, and see their contributions online. Soundlines is an educational project using sonic mediascapes to engage with landscapes. Ambience allowed open film submissions to be mapped into a mediascape for a public event in Bristol. Calderwood's work explores community interaction, authoring of user generated content, and the relationship between individuals and shared experiences.
This is detailed description of the conception and the eight interactive installations exposed at Kuflex #1 Exhibition at Media Art Abrau (Abrau Durso, Russia), 2017-2018.
Roberto Pugliese is a sound and media artist based in Helsinki. His work includes installations, performances, and compositions that combine sound with visuals and audience participation. He uses sound to create alternative relationships between audiences and spaces. His installations digitally process environmental sounds and videos to develop a shared sonic and visual language. He also collaborates with dancers on new media performances that experiment with alternative stages.
The Cone of Experience is a model that arranges different types of learning experiences from most hands-on at the bottom to most abstract at the top. Experiences become more abstract the higher they are in the cone. The types of experiences range from direct experiences like seeing and doing, to symbolic representations like words, diagrams, and charts. Jerome Bruner's three-tiered model of learning also presents a progression from active/enactive experiences to more illustrative/iconic experiences and finally symbolic representations. The degree of abstraction, not difficulty, increases as one moves up the cone.
Close-up in Cinema, in Line with the Time Image Concept of Deleuze: An Analys...paulussilas
From the beginning of the 19th century onward, as the nature of representation began to be questioned, image took on a structure which does not reflect but hides reality. It also became an ambiguous and hazy area to grasp while acquiring new
meanings and forms, as the viewer began to create his or her own visual experience (Crary 2010: 40-162). In this period when the reality of the world was no longer needed and the relativity of time was beginning to be debated, the realm of emotional
perception and sensations became visible in the field of art. In modern painting and literature, with the choice of viewpoint, the objects intertwined and converged.....
This document is a thesis submitted by Paul Fletcher in partial fulfillment of the requirements for a Master's degree in Film and Television. The thesis discusses films that successfully combine both abstract and concrete forms through elements like light, color, moving images, sound, and storytelling. It explores the intersection between clarity and obscurity in these films. The thesis will examine precedents in the avant-garde and advertising that blended abstract and concrete forms. It will also analyze specific films like Punch Drunk Love and Blood and Blossoms that achieved this blend. The thesis argues that visual music and live cinema are forms that can give prominence to both abstract and concrete representations. It presents several of the author's own short films as case studies exploring this
The sites and modalities for Critical Visual MethodologySandun Arosha
Visual culture and visual research methods are philosophically, theoretically and conceptually diverse.
Therefore , Prof. Gillian Rose from University of Oxford introduce the sites and modalities for Critical Visual Methodology.
In this paper I argue that the context for learning in the 21st Century has brought about the need to re-conceptualize or extend theories from the past if we are to develop an approach to learning design for the present and the future. Such an undertaking would appear to be timely as the nature of learning is being augmented and accelerated by new digital tools and media, particularly by mobile devices and the networks and structures to which they connect people.
Ref: 51. Cook, J. (2010). Mobile Phones as Mediating Tools Within Augmented Contexts for Development. Extended abstract in proceedings for workshop: Education in the Wild. Alpine Rendez-Vous, within the framework of the STELLAR Network of Excellence. December 3-4, 2009, Garmisch-Partenkirchen, Bavaria, Germany.
This document summarizes the author's 20 years of research in augmented reality. It discusses several of the author's past projects involving AR applications for consumer, medical, automotive, industrial, and military uses from 2009 to 2020. It also outlines the author's future plans to focus on AR applications for science, art, and entertainment in Hong Kong starting in 2011. Finally, it provides an overview of governmental projects and policies in China aimed at accelerating the development of the AR/VR industry.
This dissertation examines supernatural and comfortable user interfaces for basic 3D interaction tasks. It is split into three main parts. The first part evaluates hover interactions and develops an adaptive interface to reduce fatigue. The second part analyzes the effects of comfort on performance and develops a supernatural selection technique. The third part analyzes travel in VR, developing and evaluating flying interfaces as well as walking-based redirection techniques. Throughout the dissertation, the goal was to develop supernatural interactions inspired by natural interactions but without physical limitations of the real world. The dissertation contributes knowledge on 3D user interfaces, selection techniques, and travel methods in virtual environments.
The document profiles Pedro Andrade and his background and experience in interaction design, product design, and user experience. It includes highlights of his portfolio and past work. Some of his focus areas include 3D modeling, tangible and embodied interaction, service design, prototyping, and user experience design. He has worked on projects related to mobility and recovery after bone fractures. The document emphasizes that Pedro sees his diverse background as an asset and a growing process rather than a search for one specific area.
This document appears to be an architect's portfolio from 2016 containing biographical information, descriptions of projects, and images of designs. It includes sections on the architect's education and work experience. Several projects focusing on parametric design, robotic fabrication, and responsive materials are described, along with images of digital models and physical prototypes.
This document is a research paper submitted for an MSc degree in digital visual effects. It discusses the production of stereoscopic visual effects. The paper begins with an introduction to stereoscopic theory and history. It then outlines the rationale and objectives of the research. The objectives are to explore stereoscopic vision and binocular disparity through literature review, produce a pilot stereoscopic video, interview participants viewing the video, and create a final proof of concept video. The research aims to understand how to produce technically correct and visually attractive stereoscopic content for different presentation systems by addressing known problems. It will examine stereoscopic workflows and storytelling techniques.
IAS 2017 - Presence for Information Architects - Slide Deck (Final)T. Zachary Frazier
Slide deck for presentation made to IASummit 2017 in Vancouver, B.C., March 26th, 2016 at 10:15AM. Talk describes how presence can be used as a way to talk about the user experience of interacting with blended and virtual environments in virtual, mixed, and augmented reality contexts.
The Cone of Experience is a model that arranges different types of educational experiences from most concrete to most abstract. Experiences closer to the bottom are more hands-on, like direct experiences, while those near the top rely more on symbols, like verbal descriptions. The model is intended to show how experiences can vary in their level of abstraction or realness, not difficulty. It includes categories from direct experiences to verbal symbols, with each one building on the previous types of experiences moving up the cone.
This document discusses defining the concept of immersion. It examines immersion in the contexts of virtual environments, presence, and flow experience. Virtual environments provide interactive simulated spaces that users can become immersed in. Presence refers to the illusion of being in another environment through a virtual one. Flow experience describes being so absorbed in an activity that nothing else matters. The document proposes two types of immersion: extended immersion from long-term involvement validating a virtual environment, and volatile immersion characterized by brief flow experiences with immersion ending when flow does.
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Exploring interactions in a public toilet aditya pawarAditya Pawar
This document summarizes a research project exploring interactions in public toilets. It discusses two concepts for redesigning public toilets at Efteling, a theme park in the Netherlands. The first concept proposes "permeable space" where toilet walls become transparent in occupied areas to reduce claustrophobia. The second concept introduces a "privacy gradient" through semi-private social spaces and transparency levels that gradually transition users from public to private areas. Research involved interviews and sessions with children and adults to understand experiences and concerns around public toilets.
Jackie Calderwood is a PhD student researching moving image and pervasive media. She has created several mediascapes including e-merge, Soundlines, and Ambience. E-merge was a filmmaking mediascape in St. James's Park where the public could walk, film, and see their contributions online. Soundlines is an educational project using sonic mediascapes to engage with landscapes. Ambience allowed open film submissions to be mapped into a mediascape for a public event in Bristol. Calderwood's work explores community interaction, authoring of user generated content, and the relationship between individuals and shared experiences.
This is detailed description of the conception and the eight interactive installations exposed at Kuflex #1 Exhibition at Media Art Abrau (Abrau Durso, Russia), 2017-2018.
Roberto Pugliese is a sound and media artist based in Helsinki. His work includes installations, performances, and compositions that combine sound with visuals and audience participation. He uses sound to create alternative relationships between audiences and spaces. His installations digitally process environmental sounds and videos to develop a shared sonic and visual language. He also collaborates with dancers on new media performances that experiment with alternative stages.
The Cone of Experience is a model that arranges different types of learning experiences from most hands-on at the bottom to most abstract at the top. Experiences become more abstract the higher they are in the cone. The types of experiences range from direct experiences like seeing and doing, to symbolic representations like words, diagrams, and charts. Jerome Bruner's three-tiered model of learning also presents a progression from active/enactive experiences to more illustrative/iconic experiences and finally symbolic representations. The degree of abstraction, not difficulty, increases as one moves up the cone.
Close-up in Cinema, in Line with the Time Image Concept of Deleuze: An Analys...paulussilas
From the beginning of the 19th century onward, as the nature of representation began to be questioned, image took on a structure which does not reflect but hides reality. It also became an ambiguous and hazy area to grasp while acquiring new
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This document is a thesis submitted by Paul Fletcher in partial fulfillment of the requirements for a Master's degree in Film and Television. The thesis discusses films that successfully combine both abstract and concrete forms through elements like light, color, moving images, sound, and storytelling. It explores the intersection between clarity and obscurity in these films. The thesis will examine precedents in the avant-garde and advertising that blended abstract and concrete forms. It will also analyze specific films like Punch Drunk Love and Blood and Blossoms that achieved this blend. The thesis argues that visual music and live cinema are forms that can give prominence to both abstract and concrete representations. It presents several of the author's own short films as case studies exploring this
The sites and modalities for Critical Visual MethodologySandun Arosha
Visual culture and visual research methods are philosophically, theoretically and conceptually diverse.
Therefore , Prof. Gillian Rose from University of Oxford introduce the sites and modalities for Critical Visual Methodology.
In this paper I argue that the context for learning in the 21st Century has brought about the need to re-conceptualize or extend theories from the past if we are to develop an approach to learning design for the present and the future. Such an undertaking would appear to be timely as the nature of learning is being augmented and accelerated by new digital tools and media, particularly by mobile devices and the networks and structures to which they connect people.
Ref: 51. Cook, J. (2010). Mobile Phones as Mediating Tools Within Augmented Contexts for Development. Extended abstract in proceedings for workshop: Education in the Wild. Alpine Rendez-Vous, within the framework of the STELLAR Network of Excellence. December 3-4, 2009, Garmisch-Partenkirchen, Bavaria, Germany.
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This dissertation examines supernatural and comfortable user interfaces for basic 3D interaction tasks. It is split into three main parts. The first part evaluates hover interactions and develops an adaptive interface to reduce fatigue. The second part analyzes the effects of comfort on performance and develops a supernatural selection technique. The third part analyzes travel in VR, developing and evaluating flying interfaces as well as walking-based redirection techniques. Throughout the dissertation, the goal was to develop supernatural interactions inspired by natural interactions but without physical limitations of the real world. The dissertation contributes knowledge on 3D user interfaces, selection techniques, and travel methods in virtual environments.
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➒➌➍➑➊➑➏➍➋➒ Satta Matka Satta result marka result Satta Matka Satta result marka result Dp Boss sattamatka341 satta143 Satta Matka Sattamatka New Mumbai Ratan Satta Matka Fast Matka Milan Market Kalyan Matka Results Satta Game Matka Game Satta Matka Kalyan Satta Matka Mumbai Main Online Matka Results Satta Matka Tips Milan Chart Satta Matka Boss New Star Day Satta King Live Satta Matka Results Satta Matka Company Indian Matka Satta Matka Kalyan Night Matka
Kalyan Result Final ank Satta 143 Kalyan final Kalyan panel chart Kalyan Result guessing Time bazar Kalyan guessing Kalyan satta sattamatka
Satta Matka Sattamatka Satta matka Satta result Matka result Satta result matkaresult Satta matka result Matka 420 Matka420 matka guessing matka guessing satta matta matka satta matta matka Kalyan chart Kalyan chart Satta matta Matka 143 SattamattaMatka143 Satta live Satta live Kalyan open Kalyan open Kalyan final Kalyan final Kalyan chart Kalyan chart Kalyan Panel Chart Kalyan Panel Chart Dp Boss india matka india matka
I choose to visit the Musée d’Orsay in Paris because I’ve always had a love for Paris, and my dream is to one day visit this beautiful place going on to visit some villages around France. I am learning French to go without many difficulties, but I can only understand it, I can’t speak it. Thankfully I have some French friends to practice on.
KALYAN MATKA | MATKA RESULT | KALYAN MATKA TIPS | SATTA MATKA | MATKA.COM | MATKA PANA JODI TODAY | BATTA SATKA | MATKA PATTI JODI NUMBER | MATKA RESULTS | MATKA CHART | MATKA JODI | SATTA COM | FULL RATE GAME | MATKA GAME | MATKA WAPKA | ALL MATKA RESULT LIVE ONLINE | MATKA RESULT | KALYAN MATKA RESULT | DPBOSS MATKA 143 | ΜΑΙΝ ΜΑΤΚΑ❾❸❹❽❺❾❼❾❾⓿
➒➌➎➏➑➐➋➑➐➐ Satta Matka Dpboss Matka Guessing Indian Matka KALYAN MATKA | MATKA RESULT | KALYAN MATKA TIPS | SATTA MATKA | MATKA.COM | MATKA PANA JODI TODAY | BATTA SATKA | MATKA PATTI JODI NUMBER | MATKA RESULTS | MATKA CHART | MATKA JODI | SATTA COM | FULL RATE GAME | MATKA GAME | MATKA WAPKA | ALL MATKA RESULT LIVE ONLINE | MATKA RESULT | KALYAN MATKA RESULT | DPBOSS MATKA 143 | MAIN MATKA
KALYAN MATKA | MATKA RESULT | KALYAN MATKA TIPS | SATTA MATKA | MATKA.COM | MATKA PANA JODI TODAY | BATTA SATKA | MATKA PATTI JODI NUMBER | MATKA RESULTS | MATKA CHART | MATKA JODI | SATTA COM | FULL RATE GAME | MATKA GAME | MATKA WAPKA | ALL MATKA RESULT LIVE ONLINE | MATKA RESULT | KALYAN MATKA RESULT | DPBOSS MATKA 143 | ΜΑΙΝ ΜΑΤΚΑ❾❸❹❽❺❾❼❾❾⓿
➒➌➎➏➑➐➋➑➐➐ Satta Matka Dpboss Matka Guessing Indian Matka KALYAN MATKA | MATKA RESULT | KALYAN MATKA TIPS | SATTA MATKA | MATKA.COM | MATKA PANA JODI TODAY | BATTA SATKA | MATKA PATTI JODI NUMBER | MATKA RESULTS | MATKA CHART | MATKA JODI | SATTA COM | FULL RATE GAME | MATKA GAME | MATKA WAPKA | ALL MATKA RESULT LIVE ONLINE | MATKA RESULT | KALYAN MATKA RESULT | DPBOSS MATKA 143 | MAIN MATKA
➒➌➍➑➊➑➏➍➋➒ Satta Matka Satta result marka result Satta Matka Satta result marka result Dpboss sattamatka341 satta143 Satta Matka Sattamatka New Mumbai Ratan Satta Matka Fast Matka Milan Market Kalyan Matka Results Satta Game Matka Game Satta Matka Kalyan Satta Matka Mumbai Main Online Matka Results Satta Matka Tips Milan Chart Satta Matka Boss New Star Day Satta King Live Satta Matka Results Satta Matka Company Indian Matka Satta Matka Kalyan Night Matka
Kalyan Result Final ank Satta 143 Kalyan final Kalyan panel chart Kalyan Result guessing Time bazar Kalyan guessing Kalyan satta sattamatka
Satta Matka Dpboss Matka Guessing Indian Matka KALYAN MATKA | MATKA RESULT | KALYAN MATKA TIPS | SATTA MATKA | MATKA.COM | MATKA PANA JODI TODAY | BATTA SATKA | MATKA PATTI JODI NUMBER | MATKA RESULTS | MATKA CHART | MATKA JODI | SATTA COM | FULL RATE GAME | MATKA GAME | MATKA WAPKA | ALL MATKA RESULT LIVE ONLINE | MATKA RESULT | KALYAN MATKA RESULT | DPBOSS MATKA 143 | ΜΑΙΝ ΜΑΤΚΑ❾❸❹❽❺❾❼❾❾⓿
2. 2
48.165435, 16.401551
Would /Installation
An installation work inspired from the conceptual work; one and
three chairs (Joseph Kosuth)
It challenges the production of meaning while using different
analogies Ana linguistic as well as visual plan
This is reflected as a visual metaphor in the tree on site. While the
tree serves as a real and physical appearance of an object it is
also superimposed and highly charged with meaning. The
question of reality separate from a subjective and human-centered
perspective arises and we witness that the tree gets kind of eaten
by itself or metaphorical by the many meanings, definitions and
signs we attribute to it.
5. 5
Distance An Artistic
Exploration
“Distance”delves into the nuances of separation, inviting
viewers to reflect on the spaces that connect and divide us.
To look at distance is therefore also to look at closeness, this
relationship is explored in this work.
The first display of this work happened on 14. December
2023.
Artistic Process:
The work blends visual elements, using film scenes from a
phone camera and metaphorical videos symbolising
separation. These video sequences, capturing authentic
moments in everyday life, emphasise the realness of distance.
Metaphorical videos, like shoes in front of a shop, symbolise
human presence and confront the concept of distance.
Filmed in Basel and Vienna, they highlight the geographical
separation between the artist and the presentation location.
Mixed-media installations extend the project into the physical
realm, engaging the audience in a experience of distance.
As a unique dimension to the artistic process, background
sound played a crucial role. The artist called a friend,
requesting them to record background noise during the call,
devoid of any conversation. This intentional recording of the
call's atmospheric sounds contributed a layer of distanced
communication, further emphasising the auditory dimension
of separation.
Documentation Process:
On the day of presentation, an additional dimension was
introduced to the documentation process. A camera was
installed overhead, providing an aerial perspective to
document the unfolding artistic process. This perspective
enriched the visual narrative, capturing interactions within the
marked space. It offered a comprehensive view, augmenting
the documentation with an intricate portrayal of the
audience's engagement with the exploration of distance.
Interactive Element:
The presentation day further incorporated an interactive
element—a marked space defined by tape, with an overhead
camera capturing the proceedings. This marked zone, chosen
by the audience, invited them to physically engage with the
exploration of distance or opt for distanced observation. The
interactive component added an extra layer to the project,
providing viewers with a choice between active participation
within the marked space or passive observation from outside.
This comprehensive approach to documentation, both
through the artist's lens and an aerial perspective, aimed to
encapsulate the essence of the exploration of distance,
offering viewers a multi-dimensional experience of connection
and separation.
雅虎竞拍
煤炉代买
paypay商城
乐天二手
日本亚马逊
乐天新品
ZOZOTOWN
