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Art in the public realm.pptx

  1. Art in the public realm Contextual studies
  2. Espen Aarseth Ergodic Action - Cybertext Labyrinths and Mazes Players and Participants
  3. Clare Patey, Empathy Museum The Player or the Participant
  4. Play Bernard Sutton Smith - Play is ambiguous -
  5. Lottie Child Street training manual. TRANSGRESSIVE PLAY
  6. Flow Theory. Mihály Csíkszentmihályi States of flow are created when participants are lost in the task at hand, totally absorbed. Why do we do what we do? Self Determination Theory, (SDT) 1970s by Edward L. Deci and Richard M. Ryan. This theory looks at why people do things, what motivates them. The difference between intrinsic, motivated internally by a desire to partake and extrinsic motivation, undertaking a task for rewards.
  7. FOLK - Everyday -
  8. CONTEXT Public Art/Public space/Public Realm - Lacy - New Genre Public Art Ian borden - skateboarding - Space and architecture and the body
  9. Folklorism - modern folk -
  10. Arm Wrestling Podium Johann van der Schijff
  11. Swivel-Olympics
  12. Urban golf Locative gaming
  13. Piano Stairs
  14. Janine Harrington - 3 x 3 (formerly ABACUS/ Car Park) Huizinga magic circle a bounded space set apart from normal life. Inside the magic circle, different rules apply, and it is a space where we can experience things not normally sanctioned or allowed in regular space or life. Liminal - Boundaries
  15. Suzanne lacy Between the door And the Street
  16. ImprovEverywhere, the Mp3 experiment Why do we participate - Self determination Theory Autole Extern Rewards
  17. Three sided football, Danish Situationist Asger Jorn
  18. Michael Sailstorfer has buried gold bars in Folkestone
  19. The interface - as artefact - artefact after the fact 7) Laurence Payot People pavilion
  20. david Belt Glassphemy Games with purpose - gamification - serious - art with social purpose Gamification - gaming constructs and design principles in non gaming environments Piano stairs FUN - can art be fun Is fun trivial? MEANINGFUL PLAY - connection of actions to the activity - responsivness.
  21. Three sided football, Danish Situationist Asger Jorn
  22. Blast theory Can You See Me Now?
  23. ‘The Situationists’ made use of games for early participatory artworks and critical dialogues. In the 1950s they organised play events in Paris with the rallying cry ‘Under the Pavement the Beach’ (2011) hinting at the freedom hidden in the urban environment. A particular influential technique was Dérive, translated as Drift, (Deboard 1971), exploring the city in a gameful way, through the experience of unstructured wandering. This gameful exploratory structure was a critique of the Spectacle of the city which Debord (1973) saw as a controlling factor over people. Claire Bishop in ‘Artificial Hells’ questions the success of such strategies through a historical examination of Dérive’s organised by Debord, this amounts to little more than hanging around in bars on New Year’s Eve, speaking loudly to aggravate the other customers until Debord becomes ‘dead drunk’; after this, Ivain ‘continues alone for a few hours with a similarly marked success’ (2011). This Situationists thinking has influenced modern game ideas, such as Pervasive and Location based games, that operate within the public realm and encourage players to wander their environment to interact with game elements. This public game form as championed by Montola (2005) as an expanded play space, where the demarcation of the game is difficult to perceive. ‘In spatially, temporally and socially expanded games these changes may also be implicit and unknown to players (even though they touch the formal system of the game); the player might not know when and where the game is played, or by whom.’ (2005) Many post war art movements explore Ludic structures, as they move towards creating active audience engagement? For instance Guati a Japanese art movement from the fifties with an interest in participatory public art. They often exhibited work in parks for the passing public to contribute to. Yoshihara’s Please Draw Freely (1956) is a large free-standing board and a supply of drawing materials, given to the public around the work, to come and make marks with.
  24. For example Suzzane lacey and her concept of new genre public art, which she puts forward in her book ‘Mapping the terrain’ (1996) with a new form of public work against the monumentalism of previous public art and looked at a social way of making temporary public artworks, outside of the gallery and how to work collaboratively. It further developed notions of how a community contributes to the creation of such artwork. The Happenings’ of the fifties and sixties (Cain 2016). Organisations such as the Artists placement group, in the 60s, wanted to open up the process of making to the public through the embedding of artists in workplaces through residences. Participatory practice can be seen in the light of public artwork, which is a way for art to acquire a presence outside of the gallery. Participatory work fulfils this aspiration for work in the public realm, as it often happens beyond the white box, and also contains the actual public within its realisation. Stevens has noted this use of games and play, to effect standardised public space in his work the Ludic City, (2007). He examines how the public interact playfully with the built environment around them, often in ad hoc ways, Ian Borden in his work on skateboard culture, in relation to city architecture and how borders interact with urban environments and turn them into a playful environment. His work on how skateboarders interact with street furniture in an urban environment shows how rules can create alternative scenarios for public space and how people interact in that space leading to public gamefulness.
  25. This new choreography, is concerned with ordering and organising people or documenting the way people or crowds move, there is a focus on situated dance, so ‘Dance as Place’, and ‘Place Ballet ' (Seamon 1980). Therefore dance in the public sphere, commenting on, or emerging from everyday routine. An interest in the flow of people through the world. Referencing Lefebvre (2004) and his rhythm analysis informs the choreography of time and place as constructing the everyday, a concern with repeating patterns, both individual, and groups and how it relates to space. ‘Rhythm for Lefebrve is something inseparable from understanding of time, in particualr repetition, it is found in the workings of our town and cities in urban life and movement through space’ (Elden 2004)
  26. I see this form of re-affordance through the interface as operating using a game mechanic such as ‘Bestow’ which endows game component an added power, such as the coins used in the Pokemon and Magic the gathering card games. This re-affordance of street furniture is informed by the work of Ian Borden who writes of skateboards and how they usurp the initial affordance of a piece of street furniture like a hand rail up a public set of stairs. Its original intent was to help people walking up and down the staircase, to give added balance. Skateboarders turn the handrail into a vertigo inducing dangerous trick, as they ride their skateboard across the rail, moving at speed. “Public Domain” and “Ban This,” the videos Peralta produced and directed in 1988-89, show skaters in the streets of Los Angeles and Santa Barbara, jumping over cars, riding on to the walls of buildings, over hydrants and planters, onto benches, flying over steps, and sliding down the free-standing handrails in front of a Bank.’ (Borden 2001) But is the skateboard an interface here? The skateboard allows this change of the object, and how the rider relates through the board, means it relies on the skills of the rider for the affordance to occur, so the environmental offering is the rail, but it can only manifest by the affordance capabilities of the rider, it is not an affordance open to all but is based on partipant skill. Here with the maypole crown, unlike the skateboard, It is specific to the undertaking, and with The Bestow mechanic expressed by Re-affordance, it hopes to open up this world of possibility to all, so more like the magic Crayon effect, as is it adapts a familiar object to become something other, almost fantastical, and in this way the fiction of the activity depends on a real-world object to occur and its conversion into an experience. And further, it relies on the character or spirit of those in the endeavour, to act out in public space through the interface, seduced by the possibility of engaging and changing an object the participant is familiar with, into a fantastical object, if only momentarily. Borden in later writing addresses graffiti artists. ‘just as graffiti artists write in out-of-the-way (not always visible) sites. In part this is to prevent social conflict, and is an attempt to write anew, not to change meaning but to insert a meaning where there was none.’ (2001)
  27. Disjunction Spencer Tunick sea of hull
  28. While both works, mine and Walker and Bromewitch’s, wrapped objects, an aesthetic used by artists such as Christo and Jeanne Claude who covers public buildings and objects, (2018) The Workers Maypole was a static non-interactive work,
  29. In opposition the everyday can be seen as a controlling and deadening, a banal totalitarian force over individuals lives. Lefebvre writes this has to be affected and changed. ‘It is a question of describing, comparing and discovering what might be identical or analogous in Tehran, in Paris, in Timbuktu or in Moscow? it is a question of discovering what must and can change in people’s lives…’ (2007) A way of responding to this perceived oppression is short intense experiences, Lefebvre writes of moments, (1991) an example would be festivals that change the power relations between the people and the city around. Theorist Decerteau uses tactics in response to this everyday oppression, which he terms strategies, (2010). So, the scope of quitodian space is wide, but at the core, is how we live, day to day and it is this space in which the research sits.
  30. Public
  31. Sphere
  32. Situationists
  33. Suzzane Lacy
  34. Transform/Support
  35. Pervasive
  36. Affordances
  37. The Magic Circle

Editor's Notes

  1. By Kim Navarre from Brooklyn, NY - Labyrinth of Failure by Chris Hackett and Eleanor LovinskyUploaded by McGeddon, CC BY-SA 2.0,
  2. Like the situationist, it is about hte spectacle, reclaiming social spaces, and urban areas. Transorming everyday environments. This situationist concern has led ot modern day phenomone such as the flash mob. Her practice includes participatory, live art explorations of public space, utilising strategies of collaboration and spontaneous interaction. These strategies can be conceived as ‘urban survival skills for the twenty first century’ - A street manual that turns the environment into spaces to play games.
  3. Why do we do what we do, why do art, why go see art, what motivates us. How oculd you get people or participants invovled in projects. Why are you here, why am I here, is it external rewards, or intrinsic rewards that motivates us. Have you ever experienced a state of flow, maybe when doing your artwork. David Hockney said he has spent his life only doing what he wants to do. Think about the audience, about what they get from seeing your work, what do they take away from it, what is the experience they have.
  4. is a playful and colourful dance installation that behaves like a multi-player game where it’s the taking part that counts. The audience play an active role in triggering the dancers with their own walking or running in the space. The dancers’ movements reveal patterns and relationships in response to different numbers of "players" and their movements in the space.
  5. The idea of instructions, a modern updatng of the FLuxus kits, is this Caillios Mimicry.
  6. Reskining existing games. How would you change other games and sports to make them art, to make them performative.
  7. Gold bars buried on the beach as part of the Folkstein Triennial in 2014
  8. Reskining existing games. How would you change other games and sports to make them art, to make them performative.
  9. is one of the first location based games. Online players compete against members of Blast Theory on the streets. Tracked by satellites, Blast Theory's runners appear online next to your player on a map of the city. On the streets, handheld computers showing the positions of online players guide the runners in tracking you down.