"The digital medium's distinguishing features certainly constitute a distinct form of aesthetics: it is interactive, participatory, dynamic, and customisable, to name just a few of it's key characteristics. However, the art itself has multiple manifestations and is extremely hybrid. It can present itself as anything ranging from an interactive installation with or without network components, software art written by the artist, purely Internet-based art, or any combination there-of." pg 67
"Ultimately, any experience of an artwork is interactive, relying on a complex interplay between contexts and productions of meaning at the recipient's end. Yet, this interaction remains a mental even in the viewer's mind when it comes to experiencing traditional art forms: the physicality of the painting or structure does not change in front of his or her eyes. With regard to digital art, however, interactivity allows different forms of navigating, assembling, or contributing to an artwork that go beyond this purely mental event." pg 67
"Digital art is not always collaborative in the original sense of the word but often participatory, relying on multi-user input. In some artworks, viewers interact within the parameters that have been set by the artist; in others, they set the parameters themselves, or become remote participants in time-based, live performances." pg 68
"The digital art medium is also dynamic and can respond to a changing data flow and the real-time transmission of data. A variety of artworks...have used 'live' stock market and financial data as a source for different kinds of visualisations." pg 68
"Another prominent feature of the medium is that it is customisable, adaptable to a single user's needs or intervention, for example in artworks where the user's individual profile becomes the basis for the development of and changes in the work." pg 68
"Among the forms that digital art can take are installation; film, video, and animation; Internet art and software art; and virtual reality and musical environments." pg 70
"Digital art installations are in and of themselves a broad field and come in myriad forms. Some are reminiscent of the large-scale video installations that include multiple projections, or of video works that incorporate the viewer in the imagery through live captures. Many are aimed at creating 'environments' that can entail varying degrees of immersion, ranging from pieces that strive to envelop the audience in a projected environment to those that immerse them in a digital world." pg 71
"Some of the common formal aspects of large-scale digital environments are: architectural models; navigational models that explore interfaces or movements; explorations of the construction of virtual worlds; and distributed, networked models that allow users to participate remotely in the work." pg 71
Jeffrey Shaw created a variety of influential projects in the field of digital installation art, addressing issues of navigation within architecture in The Legible City (1988-91). The project allows visitors to navigate a simulated city through pedalling on a stationary bicycle. This creates a direct connection between the physical and virtual realm as the user can control the speed and direction of the bicycle themselves, therefore essentially cycling through the city, the landscape changing as they move. pg 72
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| Source: http://www.jeffreyshawcompendium.com/wp-content/uploads/2015/03/js44w1989LegibCit1_k000_r_cdn.jpg [Accessed: 6th September 2016] |
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| Source: http://www.jeffrey-shaw.net/images/102_003.jpg [Accessed: 6th September 2016] |
"The negative space in Cohen's images questions and reverses the dichotomy of foreground and background, as well as that of the subject and observer, who mentally 'fills in' what the image itself does not actually represent." pg 38
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| Charles Cohen, 12b, 2001 & Andie 04, 2001. Source: https://ikapur.files.wordpress.com/2009/09/picture-12.jpg?w=500 [Accessed: 11 September 2016] |
Artists Rifles, 1997:
Source: http://www.paulmsmith.co.uk/portfolio/artist-rifles/artist-rifles.html [Accessed: 11 September 2016]
Action, 2000:
Source: http://www.paulmsmith.co.uk/portfolio/heroes/heroes.html [Accessed: 11 September 2016]
"All forms of artistic media will eventually be absorbed into the digital medium, either through digitization or through the use of computers in a specific aspect of processing or production.....In some cases, their work displays distinctive characteristics of the digital medium and reflects on it's language and aesthetics. In other cases, the use of technology is so subtle that it is hard to determine whether the art has been created by means of digital or analogue processes." pg 27
"...there are certain basic characteristics exhibited by the digital medium. One of the most basic of them is that this medium allows for multiple kinds of manipulation.....Photography, film, and video have always entailed manipulation - for example, of time and place through montage - but in digital media, the potential for manipulation is always heightened to such a degree that the reality of 'what is' at any given point is constantly open to question." pg 27
"Vectorial Elevation (since 1999), which transformed the urban landscape by means of more than a dozen robotically controlled gigantic searchlights." pg 77
"In this work, which was shown in Mexico (1999) and then in the Basque region (2002), the robotically controlled searchlights could be manipulated by visitors over the Internet. Vectorial Elevation stands in the tradition of early computer-controlled outdoor light installations such as Otto Piene's (b. 1928) Olympic Rainbow (1972) and the laser sculptures of Norman Ballard (b. 1950) and Joy Wulke (b.1948)."
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| Vectorial Elevation. Source: http://www.installationart.net/Images/Lozano-HemmerVectorialDavid.jpg [Accessed: 11 September 2016] |
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| Otto Piene Olympic Rainbow 1972. Source: http://www.bbc.co.uk/news/entertainment-arts-28364515 [Accessed 11 September 2016] |
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| Erwin Redl, Shifting Very Slowly, 1998-9. Source: http://lapilgrim.narod.ru/photo352.jpg [Accessed: 11 September 2016] |
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| Erwin Redl, Shifting Very Slowly, 1998-9. Source: https://s-media-cache-ak0.pinimg.com/736x/90/9d/45/909d45a7e31df990de4508a20fa1f808.jpg [Accessed: 11 September 2016] |
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| Erwin Redl, Matrix IV, 2001. Source: https://s-media-cache-ak0.pinimg.com/236x/78/f3/d2/78f3d2aa9b66b267bad69972e3a7851f.jpg [Accessed: 11 September 2016] |
"The navigation of any kind of virtual space is always dependant on layers of interfaces. One of these layers is constituted by the input device, be it a bicycle, a mouse, or a joystick; a screen of some kind constitutes another level of interface; and the virtual structure that represents the information - the world of letters in Jeffrey Shaw's The Legible City or the cubicles in Global Interior Project - adds yet another layer. Interfaces make a work open to interaction and in themselves constitute a level of content that warrants investigation." pg 91
"Timetable consists of twelve dials that are positioned around the perimeter of a large circular table with an image projected from above onto its centre. The dials' functions change and mutate - they can become clocks, gauges, speedometers, switches, steering wheels, etc. - depending on what is projected onto them at any given moment. The real-time 3D scene at the centre of the table is controlled and influenced by the movements of the dials. The space of Timetable undergoes constant transformations and becomes more complex and multi-dimensional as it is used." pg 91
"Perry Hoberman, Cathartic User Interface, 1995/2000. Hoberman's installation allowed users to vent their frustration with new technologies: the audience was invited to throw mouse-like balls at a wall created out of obsolete PC keyboards (top right), triggering projections that are modified versions of the familiar pop-up windows and control panels that appear on computer screens and so often become obstacles of productive interaction (bottom right). A menu might ask users for a password, which they obviously do not possess, while the buttons on the menu offered them the possibility of 'Give Up'." pg 90
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| Perry Hoberman, Cathartic User Interface, 1995/2000. Source: http://www.theoreti.ca/wp-content/uploads/2008/03/hober.jpg [Accessed: 13 September 2016] |
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| Perry Hoberman, Cathartic User Interface, 1995/2000. Source: http://www.rdeveux.files.wordpress.com/2008/10/cui17b.jpg [Accessed: 13 September 2016] |
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| Perry Hoberman, Timetable, 1999. Source: http://atc.berkeley.edu/upload/Perry_Hoberman1202881978.jpg [Accessed 13 September 2016] |
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| Rafael Lozano-Hemmer, Body Movies: Relational Architecture #6, 2001. Source: http://pactac.net/ctheory/ekman/Figure%201.jpg [Accessed: 13 September 2016] |
"...art on the Internet is in many ways characterised by the tension between the philosophy of the free information space and the proximity to a commercial context." pg 112
"Ken Goldberg, Mori, 1999-present. In Mori, the movements of the Hayward Fault in California (monitored by a seismograph) are converted into digital signals and transmitted to the installation over the Internet. The installation itself is an enclosed space, at the centre of which is a monitor in the floor displaying a visual graph of the live seismic stream. At the same time, the seismic activity is translated into low-frequency sounds that resonate through the enclosure. Mori transforms the Earth into a living medium and turns its movements, normally imperceptible to humans, into a palpable experience." pg 156
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| Ken Goldberg, Mori, 1999-present. Source: http://goldberg.berkeley.edu/art/big-images/mori-600dpi.jpg [Accessed 13 September 2016] |
Source:
PAUL. C., (2003) Digital Art. Thames & Hudson Ltd: Great Britain
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"The computer has enabled artists to create works, and new types of work, never before possible: intricate images that could not be created by hand; sculptures formed in three-dimensional databases rather than in stone or metal; interactive installations that involve internet participation from around the globe; and virtual worlds within which artificial life forms live and die." pg 8
"The role and presence of art in society is undergoing considerable change and growth. The art experience extends now to homes, cybercafes and any public or private space where there is internet access or a local area network." pg8
"The power that electronic and digital media have on us is partly explained by the way in which they appeal to our senses. One simple example is our involuntary visual attraction to motion. If we enter a room with two computers, one showing a static image and the other a moving image, our attention will automatically turn towards the movement. Sound, on the other hand, fills the space we are in and works on us in different ways. While vision and hearing are the dominant physical senses where art is concerned, other senses also have a part to play. Touch, in particular, is an important component in experiencing many contemporary artworks. The traditional museum and gallery etiquette of 'look, don't touch' cannot be applied to interactive art, which requires the participation of the viewer and can be more accurately described as 'look, please touch'." pg 10
"Digital technologies such as hardware microcontrollers, sensors and software packages that control machine routines have emerged, allowing for art experiences that were not previously possible. Examples include interactive environments, robotics, and data-driven installations that read real-time information from the internet. This is one of the fasts growing areas of digital art, not only because of the creative control it offers, but also because participatory and interactive art is becoming an important component of contemporary art." pg 16
Source:
WANDS. B., (2006) Art of the Digital Age. Thames & Hudson Ltd: United Kingdom
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"'In the same way that industrial designers have shaped our everyday life through objects that they design for our offices and for our homes, interaction design is shaping our life with interactive technologies - computers, telecommunications, mobile phones, and so on. If I were to sum up interaction design in a sentence, I would say that it's about shaping our everyday life through digital artifacts - for work, for play, and for entertainment.' - Gillian Crampton Smith, interview of January 30, 2002." pg xi
"Navigability is also essential, particularly with things that are primarily on screen. You need to know where you are in the system, what you can do there, where you can go next, and how to get back." pg xv
"equally crucial is concistency. A certain command in one part of the system should have the same effect in another part....A command in the database did exactly the same in the word processor; wherever you were, the escape key took you back up a level....Consistency, like all forms of satisfying simplicity, is very difficult to achieve." pg xvi
(MORE NEEDED - UNI BOOK)
Source:
MOGGRIDGE, B. (2007) Designing Interactions. The Massachusetts Institute of Technology: Massachusetts, United States of America
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"The stairs seemingly have been transformed into piano keys. Not only do they resemble the familiar black-and-white keys of a piano, but through the magic of technology - sensors attached to speakers - every step triggers the resonant sound of a piano key.
We watch as two people start to take the escalator, pause, then place a foot on the first step. A low, loud note rings through the station. They each take a few more steps, caution transforming into more of a leap in their step. The air is filled with the sound of a musical scale. We see more people approach, just curious at first, but soon they are delighted. For some people the goal is no longer to even exit the station - they step back and forth across the keys to create a melody.
What's going on here?
This is an experiment in behaviour change: "Can we get more people to choose the stairs by making it fun to do?"
As the video continues, we see that most people choose to abandon the escalator in favour of the makeshift piano key stairs. In fact, on the day this experiment was run, "66 percent more people than normal took the stairs."" pg 1
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| Stephen Anderson, piano staircase experiment. Source: http://media.tumblr.com/tumblr_ln9ul4q4JB1qz8o02.jpg [Accessed: 13 September 2016] |
(How can interactive design be used to make people more active in their everyday life without realising?
POKEMON GO!!!!!!!)
"...ways to influence behaviour through fun, playful activities." pg 1
"Sequencing: We are more likely to take action when complex tasks are broken down into smaller tasks.
Appropriate challenges: We delight in challenges, especially ones that strike a balance between overwhelming and being boring.
Status: We constantly assess how interactions enhance or diminish our standing relative to others and our personal best.
Achievements: We are more likely to engage in activities in which meaningful achievements are recognised." pg 3
"Seduction is defined as: "the process of deliberately enticing a person to engage in some sort of behaviour,
"One negative meaning of the word seduce is "to lead astray." In that sense, you might think of tricking someone into engaging in behaviour they might not otherwise pursue. Think of the Sirens from Greek mythology, who lured sailors to their death with their irresistible song, or the famous eighteenth-century womanizer, Casanova." pg 3
"Even well designed experiences such as Disney World are essentially seductive interactions." pg 4
"Many of the sites I looked at were start-ups. And consistent with the problem I described earlier, my first experience with most of these services was so brief or unremarkable that I never came back. With some of these sites I created an account, but they did such a poor job or introducing themselves and letting me know why I should care, that I doubt I'll ever go back. I may even tell others not to bother, possibly for completely wrong reasons." pg 5
"The first few pages of the iLike sign-up process were nice, but unremarkable. They didn't ask for too much information. And they were very clear about why they were asking for the things they did. It's obvious why my e-mail address and a password would be required. But my zip code? They offered very clear (and brief) help text explaining that giving them my zip code would let them notify me whenever my favourite bands were in town. They emphasised that providing this information might benefit me. I'm sure they have plenty of business reasons for wanting my personal data - demographics, targeted marketing promotions, and so on - non of which I care about particularly. But their reasons were stated in terms of how it would benefit me to provide this information....we've known that we are more interested in people who are interested in us. No one wants to sit and hear someone talk about themselves all night. The same is true in many online interaction." pg 5
"In almost every other sign-up process for a music site - or any site that wants to find out your personal favourites - there's a page where you're asked to list your favourite bands....iLike, however, never gave me the chance to list my favourite bands. Instead, they showed me a page with 35 artists and simply asked me to "click on your favourite artists." The Beatles. Radiohead. Coldplay. This was fun. I got to the bottom of the page and was presented with an option: I could be done with the registration process or click for more artists. Of course I clicked for more artists!" pg 6
"Successful businesses figure out how to join business goals with user goals. We call this value-centred design. In the case of the iLike registration process, I had a great time clicking on bands I like. In turn, iLike gained lots of data about my musical tastes and preferences." pg 6
"Clicking on bands and artists was a lot more fun than filling out an empty text box. And look what iLike got out of the experience: I shared 35 of my favourite bands with them. Compared to other music sites where, at best, I'd list maybe four or five bands." pg 6
"Feedback loops. We're engaged by situations in which we see our actions modify subsequent results. iLike made a very small suggestion: "The more artists you rate, the better." They were careful not to spell out when I'd see results...That merely suggested that my actions would tailor my iLike experience.
Curiosity. When teased with a small bit of interesting information, people want to know more. I was curious: how would clicking on the artists I like affect results on the next page? Would I see less of one genre, and more of another? Would the suggestions become more personalised with each new batch of 35 artists?
Pattern recognition. Our brains seek ways to organise and simplify complex information, even where there is no pattern. I was looking to see if there was more or less of one type of artists. Also, why these 35 artists? Was there a pattern to the artists I was rating?
Visual imagery. Vision trumps all other senses and is the most direct way to perception. If you think about this page from a technical perspective, it's nothing more than a list of 35 checkbox items. However, but using photographs of the artists, there was a more immediate, visceral reaction. And I had a larger click target.
Recognition over recall. It's easier to recognise things we have previously experienced than it is to recall them from memory. Instead of having to recall bands I liked from memory, this was an easier, passive experience...No mental strength was required. More importantly, my hand never left the mouse - it's much easier to click from available options than to type things out by hand." pg 6-8
"...a confirmation e-mail to let me know that I had successfully created a profile on iLike. The e-mail suggested what I might do next.....I could "play the iLike Challenge."....What was the iLike Challenge?....The game is fairly addictive in and of itself. It tests your knowledge on popular songs....visible on the side of the screen is a scoreboard that keeps track of how you're doing: your current rank, total points accumulated, points to next rank (remember progress dynamics? Here I only need 48 more points to reach the next level...), questions answered, percentage of correct answers, average answer time....the one that really worked on me: Best streak. Best streak is the total number of points based on consecutively right answers. Even if I did start to tire of the music game, there was another game introduced here, one in which I compete against my own personal best....I spent over an hour playing this game. And then I shared it with friends and family. That's a seductive interaction....there's an area below the current challenge that gives you all sorts of information about the last song that played. It's very easy, while playing the game, to move your cursor and click "iLike" that song." pg 8-9
"It wasn't a focus on usability that made this a great experience. It was psychology." pg 10 (about the iLike challenge)
"Usability clears the way for a good experience by eliminating troublesome interface distractions, but a great experience stems from something more - an awareness of why people could or do care. The danger is confusing "ease of use" with actually desiring to use something...simply making something more usable won't guarantee any more clicks or conversations." pg 10
"...start by making sure it was first easy to use. Adding "playful" elements on top of a frustrating experience will only complicate things. Fix the basic problems before moving on..." pg 10
"...a very long forms that asked for lots of unnecessary information; but, if you managed to get through the application, your group got listed on a heavily trafficked site. Understanding motivation can be a powerful design tool. Usability is about removing the roadblocks and obstacles that get in the way of a great experience..." pg 11
"Moving from bottom to top, you have a basic product maturity continuum:
Functional: Ideas typically start off as functional solutions to a problem - something useful...every new technological innovation starts at a functional level.
Reliable: ...things have to be reliable. This can be reliability of the service...as well as integrity of the data. If I purchase tickets on a travel site, the ticket prices need to be current and reliable...When sites fail at reliability, especially where personal data is involved, little else matters.
Usable and Convenient: It's not enough to allow me to simply do something - it has to eventually be less awkward to use.....Both make something easier to use....most usability groups focus on fixing known problems....A focus on convenience asks, "Is there a more natural way to make this work?" MapQuest and Google Maps are great examples of this contrast. MapQuest was perfectly usable. But Google Maps, with its draggable interface, physics, and other more natural behaviours was a much more convenient way to interact with maps data. Touchscreen interactions, such as those offered by the iPad, are a perfect example of a more convenient interaction. Things work more like they might in the real world.
Pleasurable: Whereas convenience focuses on cognition...pleasurable...focuses on affect and emotions. How can we make something emotionally engaging (and memorable)? This is typically accomplished using things like friendly language, aesthetics, and humour, and doing things like arousing curiosity, creating flow, leveraging game mechanics, and other similar tactics.
Meaningful: ...you can't make something meaningful for someone - meaning is personal and subjective. But you can design for meaning by focusing on the preceding levels as well as shepherding briefs and the communities surrounding the product or service experience. Great companies know how to develop a story that people can believe....whereas the other levels build on each other, a product can be meaningful without any of these levels. For example, I have a 1966 Karmann Ghia that doesn't even run - it doesn't operate at even a functional level; however, the ownership connects me with a group of people in a ways that is personally meaningful....if you want to truly create a revolutionary product, you have to shift your thinking from a bottom-up task focus...to a top-down focus that starts with the experience you want people to have." pg 11-13
Source:
ANDERSON. S. (2011) Seductive Interaction Design: Creating Playful, Fun, and Effective User Experiences. New Riders: United States of America
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"Aside from being distributed data, Internet art has another feature that distinguishes it from much other art production - it is interactive. The spectrum of interaction on offer shades from the minimal choice involved in clicking through a set sequence of pages to permitting users to create the work themselves. There are many examples of collaborative works of art in which users add to a project within a frame set up by the initiator. Among the best known is Douglad Davis's The World's First Collaborative Sentence 1994, one of the first internet artworks, to which tens of thousands of people have made contributions. The idea is simple: anyone can add to the sentence, the only rule being that no one is allowed to finish it by adding a full stop. Over the years, its changing character has come to reflect developments on the Web. As Davis put it: "The contributors are now much more graphically sophisticated than before. The Sentence is hot pink now, pulsing with Java, video, audio, colour, everything. In the beginning it was black and white but rich with soul and personality."" pg 60
""I don't believe in interactivity, because I think interactivity is a very simple and obvious way to manipulate people. Because what happens with so-called interactive art is that if an artist proposes an interactive piece of art, they always declare: 'Oh, it's very democratic! Participate! Create your own world! Click on this button and you are as much the author of this piece as I am.' But it's never true. There is always the author with his name and his career behind it, and he just seduces people to click buttons in his own name."" - Shulgin cited in Tilman Baumgartel, 'Art on the Internet - The Rough Remix', in Josephine Bosma et al. (eds.), Readme! Filtered by nettime: ASCII Culture and the Revenge of Knowledge, Autonomedia, Brooklyn 1999, p.237. - pg 61
"There is certainly little interactivity offered by the many web-based works of art that simply require the user to click blindly through a series of screens. Implementing greater interactive depth over the Web, involving an exchange between people, or people and machines that have a degree of autonomous action, requires complex, sophisticated programming that many artists lack the skills and resources to produce." pg 63-64
""Unlike bulletin boards or chat rooms, the Web is - for the most part - a read-only medium. It is flat and opaque. You can't see through it to the activities of others. We don't socialise with anyone when we visit a web site; we read text and look at pictures. This is not iteractivity. It is an 'interactive-style' activity. There's nothing participatory about it."" - Douglas Rushkoff, 'Coercion and Countermeasures: The Information Arms Race', in Gerfried Stocker and Christine Schopf (eds.), InfoWar, Springer, Vienna 1998, p.226. - pg 64
(WAS THIS BEFORE THE TIME OF SOCIAL MEDIA SITES LIKE FACEBOOK, BEBO, MYSPACE TWITTER ETC)
Facebook - 2004
Bebo - 2005
Myspace - 1 aug 2003 (may be before Internet Art book was published, and if it was after these sites may not of taken off for a few years anyway)
Twitter - 2006
"Paul Virilio has argued that the Internet is not an example of liberty but of 'social cybernetics'. In other words, humans act as the feedback mechanism in a system that has its own autonomy: in visiting and clicking through sites, atomised users provide data about themselves that guides the machine to perfect itself; and it changes not quite to serve their needs but to exploit the dataset that is the sum of their inputs. Exercising the freedom to chose between limited and discrete options, they feed the system." - pg 64
"On the Web, however, the user's choice is generally confined to clicking on a particular link or not." pg 65
"Allucquere Rosanne Stone discusses the conditions laid down for genuine interactivity by Andy Lippman of MIT, which he defined as 'Mutual and simultaneous activity on the part of both participants, usually working towards some goal but not necessarily'. Five corollaries followed from this:
1. The process should be open to interruption by each participant
2. It should exhibit graceful degradation (if something comes up that the system cannot deal with, it should not stop the dialogue)
3. There should be limited pre-planning (because of 1. only so much can be planned in advance)
4. Paths should develop from interaction
5. The users should have the impression that the database they are engaging with is infinite." pg 65
"The ideal for Murray is that the system of machine communication does not act as a social cybernetics but as a facilitator of playful and dramatic human interaction and dialogue, so that genuine conversation, the fostering of ideas and collaboration emerges - in short, a society based on discourse." pg 65-66 (Janet H. Murray in her book Hamlet on the Holodeck)
Source:
STALLABRASS. J. (2003) Internet Art: The Online Clash of Culture and Commerce. Tate Publishing, London, United Kingdom
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"Because of the small screen it is very difficult to achieve the design principle of visibility. Functions have to be tucked away and accessed by multiple levels of menu, leading to difficulties of navigation. Another feature is that there is not room for many buttons so each button has to do a lot of work. This results in the need for different 'modes' and this makes it difficult to have clear control over the functions." pg 73
"Households will be 'wired' for communication just as they are wired for electricity, meaning that the concept of household extends outside the home because of communications technology, and similarly community extends to into the house." pg 73
"Designing interactive systems is a challenging and fascinating discipline because it draws upon and affects so many features of people's lives." pg 26
"Designing interactive systems is concerned with designing for people using technologies to undertake activities in contexts. Designing interactive systems needs to be human-centred." pg 26
Source:
BENYON.D., TURNER. P., & TURNER. S. (2005) Designing Interactive Systems: People, Activities, Contexts, Technologies. Addison Wesley, Pearson Education: England
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