Pervasive Media: cultural engagement and the ambulant landscape

1,914 views

Published on

Slides from my presentation for the Institute of Creative Technologies 'Intelligent Media' Tea-time Talks, De Montfort University.
20th October 2010.

Published in: Education, Technology
  • Be the first to comment

Pervasive Media: cultural engagement and the ambulant landscape

  1. Pervasive media:Cultural Engagement and Experience of the Ambulant Landscape.Jackie CalderwoodINSTITUTE OF CREATIVE TECHNOLOGIES, DE MONTFORT UNIVERSITYjacqueline.calderwood@email.dmu.ac.uk Intelligent Media @ the IOCT Wednesday 20th October 2010
  2. Image: Something More, 2008www.jackiecalderwood.com/transitions.php
  3. „Communities that thrive in the future will be the ones who can createnew patterns of learning, relationship, and value creation‟. Andrea Saveri, Foresight consultant, Berkely, California, discussing the importance of RESILIENCE as keynote speaker for Amplified Leicester showcase, Phoenix Digital Media Centre,2010.
  4. „Mediascapes infuse the landscape of our everyday environment with digital content and services. Screenshot: www.mscapers.com They deliver compelling user experiences when the user interacts with the physical world.‟ StentonSP et.al, Hewlett-Packard Labs, Palo Alto(2007) Mediascapes: Context-Aware Multimedia Experiences Multimedia, IEEE Vol. 14 No.3, pp. 98 – 105 Screenshot: www.createascape.org.uk Screenshot:mscape software: www.hpl.hp.com/downloads/mediascape/ mapping with mscape software
  5. Clodagh and constance quote - scrawling„Location sensitive media leads us to„scrawling‟ on our physical environmentas a way of articulating and sharing itineraries and spatial storiesthat might otherwise be invisible within that public space.‟ Clodagh Miskelly, Constance Fleuriot(2006) Layering community media in place. Digital Creativity Vol.17, No. 3, pp. 163-173
  6. In Hear, Out There: Madrid 2008 by Matt Green Screenshot: http://greensonic.wordpress.com
  7. Always Something Somewhere Else 2007Subtlemob, 2010by Duncan Speakman Screenshots: http://duncanspeakman.net/?p=180 http://subtlemob.com/?p=21
  8. Clodagh and constance quote - scrawling„Located media introduces new issues and practices to do with orientationand the rooting of representations in place....different stories appear to emerge from considering maps or being in theplace.‟ Miskelly,C., Cater, K., Fleuriot, C., Williams, M., Wood, L. Locating Story: collaborative community-based located media production http://web.mit.edu/comm-forum/mit4/papers/miskelly.pdf
  9. Ken robinson - creativity „Creativity is not a single power that people simply have or do not have, but multidimensional... an attitude. … Creativity is a process of seeing new possibilities. Realising these capacities relies on being in control of the medium – on having the necessary skills – combined with the freedom to take risks.‟Sir Ken Robinson(2001) p.137. Out of Our Minds: Learning to be Creative,Capstone Publishing, Oxford
  10. Ken robinson - creativity„A common way to describe the pleasures of mobile media applicationswas by reference to the idea of Magic Moments, when particular convergencesor overlaps between the media environment and the physical environmentwere generated.‟ Dovey, J., Fleuriot, C., Towards a Language of Mobile Media in The Mobile Audience (2010) Ed. Rieser, M. p.107
  11. Area of Research: Authoring User Generated Content For pervasive consumption (collaborative systems) Subtlety of Interaction owning experience Sensing for rich interaction (personal sensors) extending languages of communication Moving Image & pervasive computing/delivery Audience (accessibility) Experience Community Interaction Underlying Questions Community imaging (crowd delivery) Creativity and mobility: author/artist/user extra-device, Experienceof Place: Synthesis/paradox? freedom to experience Relationship: of individual to collective Affect/effect of: *Urban/rural *Time/timelessness *Movement/stillness *Inside/outside *Location/dislocation
  12. Ambulant Content source: Method of Interaction: Experiential Matrix:FilmmakingMediascapes Role of AudienceMainLocatione-merge Artist’s response Select music Individual: hand-held on-site (visual) Walk, collecting video clips [Options to view Map/Content Regions] Individual displaced: hand-heldSt. James’s Commissioning: Choose to stop and watch film on location onPark, London New and existing work Editor (mediascape) new site (audio) User (web gallery) Remote: web galleryAmbience Public response to Select music Open Call: Walk, collecting video clips [Options to view Individual: hand-held on-siteBristol Existing and new work Map/Content Regions]Harbourside (visual) Choose to stop and watch film on location Communal: big screen on-site Editor (mediascape) Invited existing work Performer (walker) (audio) Audience (big screen)Soundlines, Collaborative Walk, triggering music live (and animation Individual: hand-held on-siteWith Strata interpretation: for displaced mediascape) Remote: web galleryCollective New work generated Choose to stop/start new walk through facilitated Composer/Editor (mediascape) Individual displaced: hand-heldSand Point, workshop series on new siteNorth (audio and visual) Sand Point walks filmed for off-siteSomerset documentary screening: Communal displaced: big screen Minimal post- Performer (big screen) off-site at event production (audio) Audience (big screen) Communal remote: web gallery User (web gallery) at event
  13. Ambulant Mediascape: Three Projects •e-merge_a filmmaking mediascape Commissioned for innovation programme, Birds Eye View film festival, ICA, March 2009 Funded by ACE (National Lottery), intro supported by Pervasive Media Studio, The Royal Parks Public walks in St James‟s Park, films & traces on web. Toured to Sandpit*10 @ ICA, Southbank Arts Trail, Wiltshire College, Worle School • Ambience Commissioned by Bristol Festival, supported by Watershed & Pervasive Media Studio, Sept 2009 UGC: Open call for films, mapped into mediascape with public event (PDAs) and resulting films on location via large format projection. • Soundlines Current educational project with Strata Collective – Sept 2009 to April 2010 Sonic mediascape, with film and web, as a tool for engagement with sssi local landscapes and the human journey through time.
  14. E-merge poster
  15. e-merge_a filmmaking mediascape, ICA, London
  16. e-merge_a filmmaking mediascape, ICA, London www.e-merge-walks.com
  17. www.e-merge-walks.comwww. e-merge-walks.blogspot.com Screenshots: e-merge Walks and Films Gallery http://www.e-merge-walks.com/log-displayer/
  18. e-merge_a filmmaking mediascape, ICA, London”The main interest of the mediascape is in the way it explores visual memory. It implies that the way we build up a mental picture of a place is not topographic but defined by incident. This is perhaps the overriding impression left by the mediascape:a confrontation with the total subjectivity of our perception.Easily acceptable as a philosophical principle, it is much more disconcerting in a practicaldemonstration, not least because it highlights the impermanence of our mental picture. Alexander Starritt, a-n reviewIt also implies that if we remember a place in terms of the incidental observations madethere, a subsequent absence of those things would make it a different place in our minds.… that sense of subjectivity, of the fundamental unknowability of a place, which remains even after the park is forgotten. It is this, combined with the realisation that our places must die with us, that allows Calderwood‟s mediascape to elicit afeeling of profound transience, a feeling that nothing, nowhere, will ever be the same again.… a greater temporal dislocation would have been an interesting addition to the mediascape.” From a review of e-merge_a filmmaking mediascape byAlexander Starritt, March 2009 Published on artist newsletter interface www.a-n.co.uk/interface/reviews
  19. e-merge_a filmmaking mediascape, on tour…
  20. www.ambience2009.blogspot.com Ambience Collaborative Filmmaking Mediascape for the Bristol Festival October 2009Supported by: Pervasive Media Studio, Watershed, Bristol Festival
  21. Ambience, Bristol Community Festival Ambience at brizfest
  22. Soundlines, Sand Pointwww.stratacollective.orgCommunity Participation ProjectNorth Somerset
  23. „... digital technologies Roz Hall quote:role indigital technologies have a democratic developingdemocratic forms of cultural participationthrough the potential for dialogue about that which is being made…‟ Roz Hall(2005) p.32. The Value of Visual Exploration: Understanding Cultural Activities with Young People, The Public, Birmingham
  24. Soundlines, Sand Point www.stratacollective.org www.stratacollective.blogspot.com Screenshots: Sand Point Walks Gallery http://www.stratacollective.org/soundlines/playback
  25. Soundlines, Sand Point
  26. siegler„Reality is conjunctive, a complex movement where each onetries to “find one‟s place.”….I must have intelligence about it, that is, be in excess of it,and by that same fact already be, in advance, inventive.‟ Bernard Stiegler(2008) p.73. Trans: Barison, D. Acting Out, Stanford University Press
  27. „…understanding the links between the emergence of new things and the effort to achieve permanence.‟Hallam, E., Ingold, T.,(Eds.) (2007) p.31. Creativityand Cultural Improvisation, Berg, Oxford
  28. Soundlines Video Intro
  29. Emerge worle helpPractice-based research: seeking a place for improvisation and experimentality.Challenge:How do we balance Experimentality with Notation and Understanding?
  30. Aim: Explore the potential of pervasive media and site-specific music to facilitate strengthened awareness of connection with place and significance of the human journey.Values / Objectives ……..1. Participatory process2. Fluid interaction of individual and „whole‟3. Explicit and iterative process
  31. Introductory Workshop.. Stories of Sand Point:VOLCANOLong ago when all the hills were being formed, a crack appeared in the sea floor.A volcano erupted and spilled hot ash and lava over Sand Point.This happened several times, with times in between when the sea, full of strange creatures, came back and covered the new volcanic rocks.Finally, hot lava poured out and turned into huge lumps of rock.You are the volcano – and the sea!
  32. Field trip to Sand Point
  33. Music Improvisation & Recording Workshops
  34. „Boiling Landscapes‟ Animation Workshops
  35. Community outreach, mentoring for media diploma students and eShed volunteers
  36. Mscape workshop for Primary students with Constance Fleuriot
  37. Soundlines, Sand PointField trip 2: music and mediascape on Sand Point
  38. Watching individual walks on the web.
  39. Reflection and writing text for walk gallery.
  40. Community PremiereCommunity Premiere at Café Willow, Worle School Mediascapes, Film Screening, Website Launch, Photographic Displays, Animations, Refreshments, Maps, Stories, Walking Groups, Healthy Living…
  41. Soundlines, Sand Point www.stratacollective.org www.stratacollective.blogspot.com Screenshots: Sand Point Walks Gallery http://www.stratacollective.org/soundlines/playback
  42. “This has been an amazing opportunity for my daughter, she has really enjoyedbeing a part of it. It was great to be invited this evening having heard so muchabout it and not really understanding! A truly creative use of technology – welldone to all of you!”“It was great to see the students so interested. I am also inspired to try to makesome animations myself – theirs were so beautiful. Good luck with futureprojects.”“Absolutely brilliant. The children here worked very hard putting all this togetherand its very educational and interesting.”“I often take visitors up to Sand Point, I‟d like to share these stories with them.” - Comments from Guests at Soundlines Community Premiere
  43. Practice-based research: seeking a place for improvisation and experimentality.Inherent Values…….. Attributes for an Experimental Society?1. Participatory process: Engagement, authentic expression and „ownership‟ of the creative process. ++variety of creative methods and tools. -- tensions between artist and participant. …the relationship of author as „end user‟.2. Fluid interaction of individual and „whole‟: ++mixed age-groups, sharing skills, personal, peer-to-peer, private-public: experience, reflection, re-presentation. --tensions between structure (project) and improvisation. …towards community.3. Explicit and iterative process: Material process, reflective practice, communication ++creative empowerment: „in the element‟,technicity embraced: „find one‟s place‟ --data mining, surveillance, sustainability, boredom …paying attention, awareness/ownership of experience AND experiment….
  44. Example: „place‟ in menu region, showing the current (consecrated) and demolished (unconsecrated) chapels. Touch screen interface for menu-driven„MapDisplayer‟. Map of cemetery content region.paths with colour-coded audioregion locations, visible to walkersusing the tour, augmented by apin figure displaying theirlive position.Milton Cemetery Audio Tour
  45. Example: Grave locator map: Henry Butt
  46. Experimental Walks
  47. www.walksontheweb.blogspot.com
  48. jacqueline.calderwood@email.dmu.ac.ukwww.stratacollective.org/soundlines www.e-merge-walks.comwww.ambience2009.blogspot.com

×