GREY HAVENS
          8 days




                      0

                                               MORDOR
          ...
pervasive information architecture
      http://pervasiveia.com/



                 
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




              how is that we do not get
                   lost...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                                                          
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                after all, it is not air
                    we...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                                                          
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                      #1 context is spatial




               ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




     d resmini where's that pic of
     Peter dancing naked on ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




In your room with a friend
http://www.flickr.com/photos/4603711...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




     @resmini where's that pic of
     Peter dancing naked on t...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




In a stadium with a crowd
http://gm25liveen.web-log.nl/george_m...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




            media always imply spatial
                   relat...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




         not understanding them = bad




                     ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                                                          
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                                                          
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                                                          
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




     #2 communication is abstraction




                      ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Grotte Genovesi
Abstraction and rhythm in cave paintings (Sicil...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




       #3 we understand the abstract
          by means of the ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Getting lost in space
Le Petit Poucet, or Little Thumb
        ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Getting lost in time
Scarlett Johansson revives Cinderella for ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                                                             MU...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                                   what is space?




         ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Space
Some remote area of the Moon (http://commons.wikimedia.or...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Space
Some remote hot area of the Earth
                       ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Space
Some remote cold area of the Earth
                      ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




     space is the base experience of
     our embodiment as hum...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




     #4 semantic or digital space, or
     the Web, do not map ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




The Internet
The Internet as connected nodes in terms of abstra...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




The Internet
The Internet as connected nodes overlaid to a map ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




The Internet
The Internet as a resource
                       ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




 but they can be places, and they
need to be places if they wan...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                                   what is place?




         ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Place
A small child's playroom
                                ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Place
I swear this is not my workplace
                        ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Place
Totem pole and community house in Tlingit, British Columb...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Place
The home of Bilbo Baggins, Esq. as Tolkien originally env...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




     place involves, besides physical
     space, memories, exp...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Place is like home
Judith Mackey, Celebrate Me Home. Z-Bar Ranc...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




The Internet is a place
A fake Facebook page for Pope Benedict ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




              so, how do we communicate
                   spac...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




      how do we make people
 feel at home (or not) elsewhere?

...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Masaccio's Tribute Money
http://2.bp.blogspot.com/_CijcaA9yq58/...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                                                          
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Miller's Dark Knight Returns
DC Comics, 1986
                  ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




2                                           1                3
...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                                   1
                          ...
Filming in studio
Schneider – Sörensen, Vor Tids Dame, 1912




                                             
The Great Train Robbery
Edwin S. Porter, 1903 (Library of Congress)




                                               
Frankenstein
J. Searle Dawley, 1910 (http://www.youtube.com/watch?v=TcLxsOJK9bs)




                                     ...
A theatre
Acting conventions and fixed camera point of view contributed to placing the audience in front of the scene
    ...
SCENE




    CAMERA POV




    AUDIENCE
          
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                  no spatial articulation




                 ...
The Lonely Villa
Biograph, 1909 (from Persson, P. (2005). Understanding Cinema)




                                      ...
The Lonely Villa
Biograph, 1909 (from Persson, P. (2005). Understanding Cinema)




                                      ...
SCENE



                 OUTSIDE SPACE




    CAMERA POV




    AUDIENCE
           
The Musketeers of Pig Alley
Sight link establishes an adjacent space outside of the audience current view (1912)




     ...
The Musketeers of Pig Alley
Sight link establishes an adjacent space outside of the audience current view (1912)




     ...
SCENE 1          SCENE 2




    CAMERA POV       CAMERA POV




    AUDIENCE         AUDIENCE
                  
Dr. Jekyll and Mr. Hyde
Thanhouser, 1912 (from Persson, P. (2003). Understanding Cinema.)




                            ...
Dr. Jekyll and Mr. Hyde
Thanhouser, 1912 (from Persson, P. (2003). Understanding Cinema.)




                            ...
Dr. Jekyll and Mr. Hyde
Thanhouser, 1912 (from Persson, P. (2003). Understanding Cinema.)




                            ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




 “         The enlargement of the engraved
           wedding a...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                                              SOMEWHERE ELSE


...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




not a technical constraint at all
    it's a semantic constrain...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




 “         Another marked peculiarity of the
           Impress...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




com/d/arthistory/1/0/I/n/gc_bm_0309_04.jpg




   Oarsmen rowin...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Before the mirror
Edgar Degas, (http://liudmilag.files.wordpres...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Musicians in the orchestra
Edgar Degas, 1872 (http://en.wikiped...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




New Orleans Cotton Exchange
Edgar Degas, 1873 (http://en.wikipe...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Place de la Concorde
Edgar Degas, 1875 (http://en.wikipedia.org...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                                                          
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                                                          
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                                                          
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




           we are inside the paintings




                    ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




     #5 place-making is not achieved
         via superior tech...
Rear window
A. Hitchcock, 1954




                      
Rear window
A. Hitchcock, 1954




                      
Rear window
A. Hitchcock, 1954




                      
Rear window
A. Hitchcock, 1954




                      
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




            YARD



                                           ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




     filmic space is now complex and
      articulated through ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                                                          
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Pulp Fiction
Q. Tarantino, 1994




                           ...
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




                                                          
ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE




Day of the Tentacle
LucasArts, 1993
                           ...
SCENE




    CAMERA POV




    AUDIENCE
         
     
#6 place-making in videogames
      has nothing to do with the
         graphical wow factor



                   
Upcoming SlideShare
Loading in...5
×

The Art and Craft of Being Elsewhere

6,387

Published on

Presentation on space and place and the way these have been communicated in various media through the years. This is the Denver flextrack-revised version. Part of the research and work carried out with Luca Rosati for the Pervasive IA book (http://pervasiveia.com/), originally presented at the Web and Beyond 2010 in Amsterdam.

3 Comments
14 Likes
Statistics
Notes
No Downloads
Views
Total Views
6,387
On Slideshare
0
From Embeds
0
Number of Embeds
3
Actions
Shares
0
Downloads
92
Comments
3
Likes
14
Embeds 0
No embeds

No notes for slide

The Art and Craft of Being Elsewhere

  1. 1. GREY HAVENS 8 days 0 MORDOR 5 months 22 days Andrea Resmini The Art and Craft of Being Elsewhere The Web and Beyond 2010, Amsterdam    
  2. 2. pervasive information architecture http://pervasiveia.com/    
  3. 3. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE how is that we do not get lost in movies?    
  4. 4. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE    
  5. 5. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE after all, it is not air we are breathing    
  6. 6. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE    
  7. 7. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE #1 context is spatial    
  8. 8. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE d resmini where's that pic of Peter dancing naked on the table in the boss' office?    
  9. 9. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE In your room with a friend http://www.flickr.com/photos/46037115@N04/4233027629/    
  10. 10. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE @resmini where's that pic of Peter dancing naked on the table in the boss' office?    
  11. 11. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE In a stadium with a crowd http://gm25liveen.web-log.nl/george_michael_25_live_en/blog/index.html    
  12. 12. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE media always imply spatial relationships    
  13. 13. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE not understanding them = bad    
  14. 14. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE    
  15. 15. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE    
  16. 16. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE    
  17. 17. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE #2 communication is abstraction    
  18. 18. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Grotte Genovesi Abstraction and rhythm in cave paintings (Sicily, Italy)    
  19. 19. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE #3 we understand the abstract by means of the concrete    
  20. 20. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Getting lost in space Le Petit Poucet, or Little Thumb    
  21. 21. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Getting lost in time Scarlett Johansson revives Cinderella for Disney    
  22. 22. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE MUSIC LANGUAGE MATHEMATICS RHYTHM SPACE TIME    
  23. 23. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE what is space?    
  24. 24. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Space Some remote area of the Moon (http://commons.wikimedia.org/wiki/File:NASA_Apollo_11_photo_AS11-40-5967.jpg)    
  25. 25. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Space Some remote hot area of the Earth    
  26. 26. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Space Some remote cold area of the Earth    
  27. 27. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE space is the base experience of our embodiment as human beings, and it is objective, impersonal, undifferentiated    
  28. 28. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE #4 semantic or digital space, or the Web, do not map precisely to a single physical representation    
  29. 29. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE The Internet The Internet as connected nodes in terms of abstract network traffic    
  30. 30. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE The Internet The Internet as connected nodes overlaid to a map of the world    
  31. 31. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE The Internet The Internet as a resource    
  32. 32. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE but they can be places, and they need to be places if they want to provide satisfying experiences    
  33. 33. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE what is place?    
  34. 34. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Place A small child's playroom    
  35. 35. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Place I swear this is not my workplace    
  36. 36. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Place Totem pole and community house in Tlingit, British Columbia    
  37. 37. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Place The home of Bilbo Baggins, Esq. as Tolkien originally envisioned it    
  38. 38. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE place involves, besides physical space, memories, experiences, and behavioral patterns: it is personal, subjective, and communitarian    
  39. 39. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Place is like home Judith Mackey, Celebrate Me Home. Z-Bar Ranch in Snow, Flint Hills, Kansas (www.phnxgallery.com/page/page/2118275.htm)    
  40. 40. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE The Internet is a place A fake Facebook page for Pope Benedict XVI    
  41. 41. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE so, how do we communicate space and place?    
  42. 42. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE how do we make people feel at home (or not) elsewhere?    
  43. 43. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Masaccio's Tribute Money http://2.bp.blogspot.com/_CijcaA9yq58/S7vaxhkeg_I/AAAAAAAAFd0/eFgqLjxkgn4/s1600/Good+Tribute+Money+copy.jpg    
  44. 44. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE    
  45. 45. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Miller's Dark Knight Returns DC Comics, 1986    
  46. 46. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE 2 1 3 The Tribute: structure    
  47. 47. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE 1 1 1 The Dark Knight Returns: structure DC Comics, 1986     1
  48. 48. Filming in studio Schneider – Sörensen, Vor Tids Dame, 1912    
  49. 49. The Great Train Robbery Edwin S. Porter, 1903 (Library of Congress)    
  50. 50. Frankenstein J. Searle Dawley, 1910 (http://www.youtube.com/watch?v=TcLxsOJK9bs)    
  51. 51. A theatre Acting conventions and fixed camera point of view contributed to placing the audience in front of the scene    
  52. 52. SCENE CAMERA POV AUDIENCE    
  53. 53. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE no spatial articulation    
  54. 54. The Lonely Villa Biograph, 1909 (from Persson, P. (2005). Understanding Cinema)    
  55. 55. The Lonely Villa Biograph, 1909 (from Persson, P. (2005). Understanding Cinema)    
  56. 56. SCENE OUTSIDE SPACE CAMERA POV AUDIENCE    
  57. 57. The Musketeers of Pig Alley Sight link establishes an adjacent space outside of the audience current view (1912)    
  58. 58. The Musketeers of Pig Alley Sight link establishes an adjacent space outside of the audience current view (1912)    
  59. 59. SCENE 1 SCENE 2 CAMERA POV CAMERA POV AUDIENCE AUDIENCE    
  60. 60. Dr. Jekyll and Mr. Hyde Thanhouser, 1912 (from Persson, P. (2003). Understanding Cinema.)    
  61. 61. Dr. Jekyll and Mr. Hyde Thanhouser, 1912 (from Persson, P. (2003). Understanding Cinema.)    
  62. 62. Dr. Jekyll and Mr. Hyde Thanhouser, 1912 (from Persson, P. (2003). Understanding Cinema.)    
  63. 63. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE “ The enlargement of the engraved wedding announcement appears as an entirely new picture. The room suddenly disappears and the hand which holds the card flashes up. Again when we have read the card, it suddenly disappears and we are “ in the same room again    
  64. 64. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE SOMEWHERE ELSE 1 2   SCENE   SCENE
  65. 65. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE not a technical constraint at all it's a semantic constraint    
  66. 66. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE “ Another marked peculiarity of the Impressionists is the truncated composition, the placing in the foreground of the picture of fragments of figures and objects. There is thought and purpose in “ this apparent oddness. Child, 1887    
  67. 67. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE com/d/arthistory/1/0/I/n/gc_bm_0309_04.jpg Oarsmen rowing on the Yerres Gustave Caillebotte, 1877 (http://z.about.com/d/arthistory/1/0/I/n/gc_bm_0309_04.jpg)    
  68. 68. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Before the mirror Edgar Degas, (http://liudmilag.files.wordpress.com/2009/03/before-the-mirror-by-degas.jpg)    
  69. 69. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Musicians in the orchestra Edgar Degas, 1872 (http://en.wikipedia.org/wiki/File:Edgar_Germain_Hilaire_Degas_010.jpg)    
  70. 70. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE New Orleans Cotton Exchange Edgar Degas, 1873 (http://en.wikipedia.org/wiki/File:Cottonexchange1873-Degas.jpg)    
  71. 71. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Place de la Concorde Edgar Degas, 1875 (http://en.wikipedia.org/wiki/File:Edgar_Degas_Place_de_la_Concorde.jpg)    
  72. 72. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE    
  73. 73. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE    
  74. 74. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE    
  75. 75. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE we are inside the paintings    
  76. 76. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE #5 place-making is not achieved via superior technology    
  77. 77. Rear window A. Hitchcock, 1954    
  78. 78. Rear window A. Hitchcock, 1954    
  79. 79. Rear window A. Hitchcock, 1954    
  80. 80. Rear window A. Hitchcock, 1954    
  81. 81. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE YARD SCENE WINDOW AND PIANO PLAYER    
  82. 82. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE filmic space is now complex and articulated through places: we are there    
  83. 83. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE    
  84. 84. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Pulp Fiction Q. Tarantino, 1994    
  85. 85. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE    
  86. 86. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Day of the Tentacle LucasArts, 1993    
  87. 87. SCENE CAMERA POV   AUDIENCE  
  88. 88.    
  89. 89. #6 place-making in videogames has nothing to do with the graphical wow factor    
  90. 90. Myst The glorified theatre    
  91. 91. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Ultima underworld Origin Systems, 1992. The paper map contained in the boxed set. It was accompanied by a small bag with runes.    
  92. 92. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Alone in the dark Infogrames, 1993    
  93. 93. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Alone in the dark Infogrames, 1993    
  94. 94. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE #7 visual or narrative syntax might differ, but successful experiences strive for place- making    
  95. 95. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE A map of Arkham, MA Central Arkham in a handwritten map drawn by H. P. Lovecraft    
  96. 96. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE    
  97. 97. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE    
  98. 98. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE it would even be an interesting place, if not for the fact that it only exists in fiction    
  99. 99. Dark Corners of the Earth A Call of Cthulhu game from Headfirst Productions, 2K and Bethesda, 2005    
  100. 100. Dark Corners of the Earth A Call of Cthulhu game from Headfirst Productions, 2K and Bethesda, 2005    
  101. 101. Dark Corners of the Earth A Call of Cthulhu game from Headfirst Productions, 2K and Bethesda, 2005    
  102. 102. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE we need place, but place has nothing to do with 'real': it has to do with being there    
  103. 103. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE SPACE PLACE FINE ARTS OUTSIDE CINEMA INSIDE OUTSIDE VIDEOGAMES INSIDE OUTSIDE CYBERSPACE INSIDE   STATIC   DYNAMIC
  104. 104. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Place A fake Facebook page for Pope Benedict XVI    
  105. 105. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Visit the Shire http://www.hobbitontours.com/    
  106. 106. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Inside the painting The home of Bilbo Baggins in New Zealand    
  107. 107. ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE Thank you Twitter: @resmini Book: http://pervasiveia.com/    
  1. A particular slide catching your eye?

    Clipping is a handy way to collect important slides you want to go back to later.

×