Presentation by Johann Richard, Unic AG "Start your IA with Mobile - How to target Multi-Platforms" at the information architecture conference Euro IA in Paris on September 25, 2010.
Geovisualisation: Future Interactions & Social ContextsChris Marmo
If geovisualisation is defined as the exploration of location data through interactive interfaces, what does it mean if the notions of ‘interaction’ and ‘interfaces’ are moving away from traditional desktop metaphors, and into the realm of mobile, ubiquitous and tangible computing? Through a brief discussion on haptic, auditory and tangible interfaces, we highlight that there is a need to study broader social contexts of use of spatial technologies. We then provide a case study that aims to do this: by conducting a qualitative study with park rangers in a national park, we describe the spatial, social and temporal quality of their relationships to the environment, and suggest that these findings could be used as inspirations for the design of future technologies that are at once spatial and social.
Presentation by Johann Richard, Unic AG "Start your IA with Mobile - How to target Multi-Platforms" at the information architecture conference Euro IA in Paris on September 25, 2010.
Geovisualisation: Future Interactions & Social ContextsChris Marmo
If geovisualisation is defined as the exploration of location data through interactive interfaces, what does it mean if the notions of ‘interaction’ and ‘interfaces’ are moving away from traditional desktop metaphors, and into the realm of mobile, ubiquitous and tangible computing? Through a brief discussion on haptic, auditory and tangible interfaces, we highlight that there is a need to study broader social contexts of use of spatial technologies. We then provide a case study that aims to do this: by conducting a qualitative study with park rangers in a national park, we describe the spatial, social and temporal quality of their relationships to the environment, and suggest that these findings could be used as inspirations for the design of future technologies that are at once spatial and social.
The artistic aim of the Walking the Edit project is to enable the creation of unique and individual movies by anybody, based on already existing audio-visual material and... a walk.
Stories of-from-about-with the territory: the practice of “walking of a movie” is an open and playful way of interacting with the audiovisual memory of our surrounding environment and everyday life. By mixing our immediate reality with feeds and data coming from the digital space (the mobile internet), we create a so-called “augmented reality”. The project “Walking the Edit” opens an alternative path to this hybrid territory, by reducing the growing data-worlds into a single linear, time based construction: a story. One story out of many potential others: the past of the place you are interacting with is (re)combining itself to deliver a new, contextual and unique story that belongs to your present.
From Social Media To Human Media - critical reflection on social media & some...Niels Hendriks
This is a presentation by Liesbeth Huybrechts & Niels Hendriks given at the Glocal Conference in Macedonia in 2009. It makes a critical reflection on so-called social media and presents some design methods and projects dealing with social environments.
Long Time No See Project: participation designlinda carroli
Long Time No See? is a new project supported by the Australia Council for the Arts Special National Broadband Initiative to create an innovative 'next generation' artwork optimised for the forthcoming National Broadband Network (NBN).
We will create a living work that develops dialogs around time, community and futures, working with a range of nascent communities of interest, initially drawn from NBN connected locations, students and special interest groupings such as Festival audiences.
This presentation by Susana Bautista, Adjunct Faculty, Annenberg School of Communication and Journalism, University of Southern California - explores the notion of museums and placemaking, and how digital technologies are enabling museums to mark their places in new and innovative ways. When museums think about technology today, they must also think about place. A few questions to ask are: What are the new places that museums are occupying in the digital age? How do museums act with their visitors in these new places? How do these “new” places connect with the “old” places? What new places are museum visitors occupying, and what are they doing there? How do museums “make” place, and is there a hub? Placemaking has existed from Stonehenge to the Acropolis, and to monumental buildings centrally placed within a community such as The Metropolitan Museum of Art, the Art Institute of Chicago, and the Getty Center; and museums historically have had branches or satellites, programs within the community, and community partners. What is new is how technology allows us to better understand the networked museum experience, to engage its global community of visitors and users, and to connect physical and online places, mobile and fixed experiences.
City Strata: Locative Experience Design and Large-Charlotte Crofts
An academic poster which won the poster prize at 'Spaces and Places of Culture' MeCCSA 2013 Annual Conference (Media, Communications and Cultural Studies Association) held at University of Ulster, Derry UK City of Culture.
We are creating a new kind of reality, one in which physical and digital environments, media, and
interactions are woven together throughout our daily lives. In this world, the virtual and the physical
are seamlessly integrated. Cyberspace is not a destination; rather, it is a layer tightly integrated
into the world around us.
The artistic aim of the Walking the Edit project is to enable the creation of unique and individual movies by anybody, based on already existing audio-visual material and... a walk.
Stories of-from-about-with the territory: the practice of “walking of a movie” is an open and playful way of interacting with the audiovisual memory of our surrounding environment and everyday life. By mixing our immediate reality with feeds and data coming from the digital space (the mobile internet), we create a so-called “augmented reality”. The project “Walking the Edit” opens an alternative path to this hybrid territory, by reducing the growing data-worlds into a single linear, time based construction: a story. One story out of many potential others: the past of the place you are interacting with is (re)combining itself to deliver a new, contextual and unique story that belongs to your present.
From Social Media To Human Media - critical reflection on social media & some...Niels Hendriks
This is a presentation by Liesbeth Huybrechts & Niels Hendriks given at the Glocal Conference in Macedonia in 2009. It makes a critical reflection on so-called social media and presents some design methods and projects dealing with social environments.
Long Time No See Project: participation designlinda carroli
Long Time No See? is a new project supported by the Australia Council for the Arts Special National Broadband Initiative to create an innovative 'next generation' artwork optimised for the forthcoming National Broadband Network (NBN).
We will create a living work that develops dialogs around time, community and futures, working with a range of nascent communities of interest, initially drawn from NBN connected locations, students and special interest groupings such as Festival audiences.
This presentation by Susana Bautista, Adjunct Faculty, Annenberg School of Communication and Journalism, University of Southern California - explores the notion of museums and placemaking, and how digital technologies are enabling museums to mark their places in new and innovative ways. When museums think about technology today, they must also think about place. A few questions to ask are: What are the new places that museums are occupying in the digital age? How do museums act with their visitors in these new places? How do these “new” places connect with the “old” places? What new places are museum visitors occupying, and what are they doing there? How do museums “make” place, and is there a hub? Placemaking has existed from Stonehenge to the Acropolis, and to monumental buildings centrally placed within a community such as The Metropolitan Museum of Art, the Art Institute of Chicago, and the Getty Center; and museums historically have had branches or satellites, programs within the community, and community partners. What is new is how technology allows us to better understand the networked museum experience, to engage its global community of visitors and users, and to connect physical and online places, mobile and fixed experiences.
City Strata: Locative Experience Design and Large-Charlotte Crofts
An academic poster which won the poster prize at 'Spaces and Places of Culture' MeCCSA 2013 Annual Conference (Media, Communications and Cultural Studies Association) held at University of Ulster, Derry UK City of Culture.
We are creating a new kind of reality, one in which physical and digital environments, media, and
interactions are woven together throughout our daily lives. In this world, the virtual and the physical
are seamlessly integrated. Cyberspace is not a destination; rather, it is a layer tightly integrated
into the world around us.
Using the metaphor of Seven Stepping Stones, this slide deck presents a simple way to illustrate the buying proces, or path to purchase, for different purchase transactions, from simple to complex.
Slides from Jackie Calderwood's session 'Clean and Colourful Research: Transdisciplinary Research, Arts Practice and Clean Language' at the International Clean Language Conference, University of London Union, 20th May 2012.
www.jackiecalderwood.com
www.cleanchange.co.uk
Slides (some images removed) from presentation by Jackie Calderwood in the Layered Reality Project Feedback Panel at i-Docs Symposium 2012, Watershed, Bristol.
Abstract:
Living Voices is a locative woodland walk with audio. Trees act as placeholders for the voices of eight people living with varying stages and forms of dementia.
Audio was recorded via interviews using a methodology informed by David Grove’s Clean Language to facilitate participants sharing of information about themselves. Each person considers what kind of tree they might be. Developing the metaphor elicits qualities and aspirations of life well lived. Participants are invited to share whatever message they feel important to be heard. Some also choose to speak about the nature of their disease, the impact on their life.
This paper will outline the concept, methodology and practice of collaboration, the making of the first iteration of the interactive documentary pervasive artwork, Living Voices.
The project draws together my interests in participatory community arts, holistic therapies, pervasive media and rural landscape. During previous documentary work for the Alzheimer’s Society in Wiltshire, creating a Service Advocacy DVD, I was struck by the comment of one gentleman who, when asked what else he would like to add, replied: ‘it’s not very often we get asked if we have anything else to say.’
Using pervasive media and the growing environment, Living Voices attempts to bridge the three domains of experience: conceptual, sensory, symbolic (Lakoff & Johnson). Also to maintain integrity between the trialogue of interviewer/ interviewee/ information (Lawley & Tompkins) and subsequent user/ environment/ media content.
The intention is to share, if temporarily, ‘the wisdom of walking in another person’s moccasins’ as audience-listeners explore the landscape of trees and of the voices that speak to them, in response to their own pace of movement in time and space.
The project, instigated by Jackie Calderwood, is collaboration with Alzheimer’s Society Wiltshire and Clean Change Company. Future plans include a gallery installation and educational website.
First presentation of my final project idea for the Masters in Interactive Media at University of Limerick, Ireland. Presents motivation, theories researched, similar projects, technology overview
Designing Relevance, Nokia and Face Open Innovation project @ Esomar BerlinPulsar Platform
How can a brand secure relevance in a changing market place? This case study goes into detail about Face's work with Nokia as part of their Relevance Program.
The paper shows how a complex organization can respond to the challenges of rapid exponential change through open and agile approaches like co-creation, crowd-sourcing, social media analysis and online research communities.
Francesco D’Orazio (FACE) and Tom Crawford (Nokia) presented "Designing relevance - How open and agile research methodologies can help complex organizations respond to change and stay relevant" at the Esomar Online Research conference in Berlin, October 2010.
Francesco also presented this at the Esomar On-Line Research:The Evolution Continues conference in Milan.
This presentation accompanies a conference paper. Here is the paper abstract that hopefully gives some context to the presentation:
Modern research in geovisualisation has framed the discipline as a field more akin to “geovisual analytics” – one that places an emphasis on the human elements of exploration of data through interactive and dynamic geo-interfaces, rather than simple data representation. This rephrasing highlights the importance of cognitive aspects of human interaction with geo-based data and the interfaces designed to present them. In an attempt to provide a psychological background to the benefits of geovisual analytics, this paper will explore the role that perception has in complex problem solving and knowledge discovery, and will demonstrate that, through modern interactive technologies, (geo)visualisations augment and facilitate our natural ability to surface novel, surprising and otherwise invisible relationships between information. It will argue that it is through these novel relation-ships that we add to our understanding of the original information and simultaneously reveal new knowledge ‘between the gaps’.
This talk was given on September 3rd, 2010 in Auckland, New Zealand
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Pervasive Media: cultural engagement and the ambulant landscape
1. Pervasive media:
Cultural Engagement and Experience of the Ambulant Landscape.
Jackie Calderwood
INSTITUTE OF CREATIVE TECHNOLOGIES, DE MONTFORT UNIVERSITY
jacqueline.calderwood@email.dmu.ac.uk
Intelligent Media
@ the IOCT
Wednesday 20th October 2010
3. „Communities that thrive in the future will be the ones who can create
new 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 environment
as a way of articulating and sharing itineraries and spatial stories
that 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
8. Clodagh and constance quote - scrawling
„Located media introduces new issues and practices to do with orientation
and the rooting of representations in place.
...different stories appear to emerge from considering maps or being in the
place.‟
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 applications
was by reference to the idea of Magic Moments, when particular convergences
or overlaps between the media environment and the physical environment
were 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:
Filmmaking
Mediascapes Role of Audience
MainLocation
e-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-held
St. James’s Commissioning: Choose to stop and watch film on location on
Park, London New and existing work Editor (mediascape) new site
(audio) User (web gallery)
Remote: web gallery
Ambience Public response to Select music
Open Call: Walk, collecting video clips [Options to view Individual: hand-held on-site
Bristol 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-site
With Strata interpretation: for displaced mediascape)
Remote: web gallery
Collective New work generated Choose to stop/start new walk
through facilitated Composer/Editor (mediascape) Individual displaced: hand-held
Sand Point, workshop series on new site
North (audio and visual) Sand Point walks filmed for off-site
Somerset 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.
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 practical
demonstration, not least because it highlights the impermanence of our mental picture.
Alexander Starritt, a-n review
It also implies that if we remember a place in terms of the incidental observations made
there, 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 a
feeling 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
21. www.ambience2009.blogspot.com
Ambience
Collaborative Filmmaking Mediascape
for the Bristol Festival October 2009
Supported by: Pervasive Media Studio, Watershed, Bristol Festival
24. „... digital technologies Roz Hall quote:role indigital technologies
have a democratic developing
democratic forms of cultural participation
through 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
25.
26. Soundlines, Sand Point
www.stratacollective.org
www.stratacollective.blogspot.com
Screenshots: Sand Point Walks Gallery
http://www.stratacollective.org/soundlines/playback
29. siegler
„Reality is conjunctive, a complex movement where each one
tries 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
30. „…understanding the links between the emergence of new things
and the effort to achieve permanence.‟
Hallam, E., Ingold, T.,(Eds.) (2007) p.31. Creativity
and Cultural Improvisation, Berg, Oxford
32. Emerge worle help
Practice-based research: seeking a place for improvisation and experimentality.
Challenge:
How do we balance Experimentality with Notation and Understanding?
33. 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 process
2. Fluid interaction of individual and „whole‟
3. Explicit and iterative process
34.
35. Introductory Workshop.. Stories of Sand Point:
VOLCANO
Long 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!
44. Community Premiere
Community Premiere at Café Willow, Worle School
Mediascapes, Film Screening, Website Launch, Photographic Displays,
Animations, Refreshments, Maps, Stories, Walking Groups, Healthy Living…
45. Soundlines, Sand Point
www.stratacollective.org
www.stratacollective.blogspot.com
Screenshots: Sand Point Walks Gallery
http://www.stratacollective.org/soundlines/playback
46.
47.
48. “This has been an amazing opportunity for my daughter, she has really enjoyed
being a part of it. It was great to be invited this evening having heard so much
about it and not really understanding! A truly creative use of technology – well
done to all of you!”
“It was great to see the students so interested. I am also inspired to try to make
some animations myself – theirs were so beautiful. Good luck with future
projects.”
“Absolutely brilliant. The children here worked very hard putting all this together
and 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
49. 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….
50. 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 audio
region locations, visible to walkers
using the tour, augmented by a
pin figure displaying their
live position.
Milton Cemetery Audio Tour