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Participation

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Out of Site Stage 3 Lecture, School of Art, Edinburgh College of Art

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Participation

  1. 1. Participation<br />
  2. 2. Formulating a Strategy<br />What do you have to consider? <br />Audiencesare essential to think about here.<br />Martin Creed Work no. 240 fuck off (1999) Neon <br />
  3. 3. Audiences <br />Will the audience differ to what you might expect?<br />Will they be random or specialist (if so, specialist in what sense)? <br />How might you engage the audience in wider ways than you may normally?<br />
  4. 4. Audiences <br />Interactivity - Will the audience be passive or active in relation to your work?<br />Social – Will the project be empowering for the you and/or the audience?<br />What can you both learn or gain from your experience?<br />What difference does it make?<br />SpartacusChetwynd – An Evening With Jabba the Hutt, 2004<br />
  5. 5. Audiences<br />Can you / need you research the audience as a cultural group? <br />This may be relevant in the case of a space that attracts a specific group of people.<br />
  6. 6. Audiences<br />Will having a certain audience base support be essential to the success of your work?<br />Will your work involve collaborating with the audience or facilitating their experience?<br />TatsumiOrimoto at Opening ceremony of the 6th Sharjah Biennial<br />
  7. 7. APG members at Documenta 6 in Kassel, Germany, 1977. From left to right: Ian Breakwell, Barbara Steveni, Nicholas Tresilian, John Latham and Hugh Davies.<br />
  8. 8. The artist would become involved in the day-to-day work of the organisation and be paid a salary equal to that of other employees by the host organization, while being given the new role of maintaining sufficient autonomy to acting on an open brief. <br />Film still from The Journey, made by Ian Breakwell<br />on an APG placement with British Rail. <br />
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  10. 10. RirkritTiravanija, 1997 <br />Untitled (The Zoo Society)<br />Location: Property of the old zoo<br />Status: Stage with regular performances<br />
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  15. 15. Audiences<br />What will you offer to the audience and what’s so special about it? <br />Can your work be seen as a form of “service”? <br /><ul><li>www.chrisevans.info</li></li></ul><li>
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  17. 17. Californian Ideology and Social Reconstructionism<br />Is there such a thing as a free lunch?<br />Freeware & OpenSource<br />Free Advice and ‘How-to’<br />Mutually Reciprocal Labour (e.g. gift and barter economies).<br />
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  20. 20. Post-Guttenberg Era = Post-Design Era?<br />
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  22. 22. 2009<br />Chris Anderson<br />Free: Why $0.00 Is the Future of Business<br />
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  27. 27. www.shadazz.co.uk<br />
  28. 28. Smart Mobs<br />
  29. 29. Howard Rhiengold– Smart Mobs and Social Nature of Creativity <br />
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  31. 31. Stigmergy: <br />Silvercasting and Mass Customisation<br />
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  35. 35. From Mass Media to Participatory Media<br />From Object to Field<br />From Things to Experiences<br />
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  39. 39. What is the Cloud?<br />
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  44. 44. Sites<br />Ambient Space – blurs public and private.<br />Ubiquitous non linear spaces.<br />Virtual<br />
  45. 45. In the Loop<br />
  46. 46. RFID and GPS as Virtual Graffiti<br />The RFID or GPS enabled camera phone is a reader and writer. So tags can be used to leave information anywhere. <br />Keyword classification of information allows (with the aid of humans) a virtual semantic environment to be mapped onto the offline world – this means it can be read by machines. <br />
  47. 47. Hyper-reality and the Everyday.<br />This information rich semantic environment facilitates AmI (ambient intelligence) and the growth of the internet of things wherein billions of objects/animals/people can be read and tracked by a computer and will form part of a network.<br />
  48. 48. Augmented Reality<br />This has a parallel with the scalable vector graphic (as opposed to the bitmap) – a way of creating data on the world that is fluid and can be scaled up without loss of sharpness.<br />
  49. 49. “How might we design a world in which we rely less on ‘tech’ - and more on people?”<br />“…..design people back into situations.”<br />Shift of focus in design towards services and experiences is a shift from objects to<br />people:<br />“Use, not own”.<br />http://www.thackara.com/<br />http://www.thackara.com/inthebubble/<br />
  50. 50. Slides available at http://www.slideshare.net/neilmulholland<br />Licensed under a Creative Commons Attribution-Non-Commercial-Share Alike 2.5 UK: Scotland License.<br />

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