XPUB2 Research Board / Martin Foucaut: Difference between revisions

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===<p style="font-family:helvetica">Graduate proposal guidelines</p>===
===<p style="font-family:helvetica">Graduate proposal guidelines</p>===
====<p style="font-family:helvetica">What do you want to make?</p>====
I want to conceive a physical exhibition space inspired by the properties of a Web page, relating both to the diversity of view points offered by the web, as well as the unpredictability and obsolescence of the content presented. The field of possible surfaces of this space could be diffracted thanks to a system of sliding wall(s). The variable dimension of this space can be manipulated by the spectator(s) by pushing or pulling the wall surface with their hands. The variable size of this space can be manipulated by the spectator(s) by pushing or pulling the surface of the wall with their hands, at the risk of affecting in a more or less controlled way other parameters such as the light/brightness, the sound emitted, the projection surface, the arrangement of certain contents presented, etc. By doing so, I wish to invite spectator(s) to make a physical experience of the Web.
====<p style="font-family:helvetica">How do you plan to make it?</p>====
On the technical side, starting from my simulations and sketches, I wish to move forward step by step by making models of exhibition spaces of increasingly larger scales, until  the human scale.
The project will evolve according to the technical problems and theoretical questions that will arise.
On the theorical side, I will dig futher into both subject of the physical exhibition space, the web user interface and see how and they could be correlated.
Describe how you will go about conducting your research through reading, writing and practice. In other words, through a combination of these approaches, you will explore questions or interests you have laid out in your general introduction.  In this section you can help us understand how your project will come together on a practical level and talk about possible outcome(s).  Of course, the outcome(s) may change as your research evolves, but it's important at this stage to have some concrete idea of how your project could come together as a whole.
====<p style="font-family:helvetica">What is your timetable?</p>====
yet to be filled.
Please include a timeline of what needs to be done and the order in which those things will be done.
* 1st semester: starting from the very first hackpack that was made, buy, assemble and programm a Arduino with a ESP8266 module and a ultrasonic Sensor (HC-SR04), test it out with various things such as a bulb lamp, a speaker, a motor, or a beamer. Meanwhile get started with conceiving and making a reduced scale model of the exhibition space I want to conceive.
(I will need to work with Arduino(s) and add to it/them  sensors such an ultrasonic sensor for mesuring the distance and a solar sensor for mesuring the light. I will implement this arduino device inside a custom made wall that will be conceived in a wood workshop and fixed on 2 rails in order to slide.)
====<p style="font-family:helvetica">Why do you want to make it?</p>====
Details are important, together they create singular contexts, and singular contexts create singular experiences.
====<p style="font-family:helvetica">Who can help you and how?</p>====
About the project itself:
* Reinaart Van Hoe apparently worked on a very similar project a while ago, I need to talk to him.
* Stephane Pichard, old tutor, we worked together several years on conceptualizing installations and exhibitions spaces
About creating the physical elements:
* People in wood station
* People in metal station
* People in interaction station
About Arduinos:
* Dennis de Bel who introduced me to Arduino and willing to answer to my questions
* Louisa Teichmann also working with Arduino for graduation, we are on the same path.
About Theory:
* Emmanuel Cyriaque, teacher, curator and my previous theorical tutor
About writting and theory:
* Rosa Zangenberg got a degree in art, media and society and can help me to write and get more references about my research.
====<p style="font-family:helvetica">Relation to previous practice</p>====
I come from a graphic design background. During my studies my desire has been more and more to bring questions and make installations/works that directly concerned the tools, formats and medias I was dealing with as a designer.During my previous Master in graphic design, I started reflecting on the status of networked writing and reading (by programming my thesis in the form of an online website). Subsequently, I wished to question the effects of the process of transposition/transcoding a content from the Web to Print (by printing my publication on different physical supports such as a book or on flags). Then, I got interested into what I called "the mediatization of media", which removes the media as a mediating tool to transform it as a content itself. Finally, I started getting interested into questions related to the exhibition space, (by designing a scenography willing to translate in a physical exhibition space; the texts and images from my Web to Print thesis). This is how I created a publication embodied in the form of an "physical exhibition interface", where visitors and the jury could find a series of interactive installations, displayed into four different rooms, willing to suggest a physical and almost architectural experience of the new media. After professionalising myself as a freelance graphic designer for one year, I wished to get back on researching/making about theses subjects and to extend them to futher problematics. My goal was and remain also to make this research more intelligible. That's how I applied and got accepted at Piet Zwart Institute as part of the Experiemental Publishing Master. As a first year student among 9 others, I worked on 3 collective publications (Special Issue 13; 14; 15). During the Special Issue 13, I interpreted an essay from Simon(e) van Saarloos, where  I amplified her/his discourse on descriptive language by using and overusing meta-descriptions (html tags). This, in order to affect the reader/user understanding and interepreation of the original essay. During the making of the Special Issue 14, I wished to use hidden events from the browser as the main mechanic of a simple video game. During the Special Issue 15, I created an Web instrument that used the user web interface height and width) as variables for the frequencie and the amplitude of the sounds. By doing so, each user visiting the web instrument will get a different sound from the very first moment she/he/they get in.
====<p style="font-family:helvetica"> Relation to a larger context</p>====
yet to be filled.
Meaning practices or ideas that go beyond the scope of your personal work.  Write briefly about other projects or theoretical material which share an affinity with your project.  For example, if you are researching urban interventions, you might want to research about Situationist approaches to psychogeography, urban tactical media and activist strategies of reclaiming the streets.  Or, if you want to explore the way data is tracked, you might touch upon the politics of data mining by referencing concerns laid out by the Electronic Frontier or highlight theoretical questions raised by Wendy Chun or others.  (Keep in mind that we are *not* expecting well formulated conclusions or persuasive arguments in the proposal phase.  At this juncture, it's simply about showing an awareness of a broader context, which you will later build upon as your research progresses.)


====<p style="font-family:helvetica"> References</p>====
====<p style="font-family:helvetica"> References</p>====

Revision as of 10:32, 10 October 2021

Pads

Manetta / Michael

Steve / Marloes

Seminars (source)

Hackpack

A mini prototype, sketch, gesture in relation to your project last year.

Key Dates and Deadlines

These are the key dates for 2021-22

  • 19 November - Graduate Proposal Deadline

Last year's Graduate Proposals UPLOAD YOUR PROPOSAL HERE!

  • 19 November - Thesis Outline Deadline

Last year's Thesis Outlines UPLOAD YOUR THESIS OUTLINE HERE!

  • 3 Dec - Deadline First Chapter
  • 18 Feb - Deadline First Draft Thesis
  • 18 March - Deadline Second Draft thesis (texts to 2nd readers)
  • 1 April - Deadlines Second readers' comments
  • 14 April - DEADLINE THESIS

Graduate proposal guidelines

References

Guides and Guidelines

Graduate_proposal_guidelines

Second Readers Guidelines

A Guide to Essay Writing (including guide to Harvard method).

Handbook details- thesis and final project

Thesis Guidelines

Criteria for evaluation (Thesis)

LB Code link (in progress)

https://pad.xpub.nl/p/LB-groupcritprotocals

How to do research

About thesis

Thesis criteria

  1. Intelligibly express your ideas, thoughts and reflections in written English.
  2. Articulate in writing a clear direction of your graduate project by being able to identify complex and coherent questions, concepts and appropriate forms.
  3. Clearly structure and analyse an argument.
  4. Use relevant source material and references.
  5. Research texts and practices and reflect upon them analytically.
  6. Synthesize different forms of knowledge in a coherent, imaginative and distinctive way.
  7. Position one's own views within a broader context.
  8. Recognize and perform the appropriate mode of address within a given context.
  9. Engage in active dialogue about your written work with others.

Referencing System

  • Harvard Referencing system PDF

Research

Graduate proposal guidelines

What do you want to make?

I wish to propose a physical experience of the Web by conceiving an exhibition device whose properties such as size, luminosity, arrangement of contents, projection format, or sound amplitude could vary according to the interactions engaged by the spectator or spectators. In this way, I wish to give the architecture a certain elasticity, the arrangement of the contents more unpredictability, and the spectators more freedom with regard to the spatial device that is supposed to serve their experience and interpretation of a content.

  • Is it the context of you (as a spectator) in this exhibition space, or a context around something else?
  • Structure
  • How will I be curating the content I put in.
  • Is there more freedom on the Web?

How do you plan to make it?

On the theorical part, I will continue my research on the exhibition spaces in parallel to investigating the notion of interface. I will confront/compare them. Added to this, looking at exhibition displays over history of art, institutional critique, white cube, and meta art
On the technical part, I will work a lot with Arduinos, explore what is possible with sensors, and get started with conceiving the physical elements of the exhibition space. The scale of my prototypes will increase over time.

  • Body response to these differents exhibition display?
  • How do you consider the body response.
  • About interface/physical space
  • Do you want to have a reference of the digital in the physical, and physical in the digital?


What is your timetable?

yet to be filled. Please include a timeline of what needs to be done and the order in which those things will be done.

1st semester: starting from the very first hackpack that was made, buy, assemble and programm a Arduino with a ESP8266 module and a ultrasonic Sensor (HC-SR04), test it out with various things such as a bulb lamp, a speaker, a motor, or a beamer. Meanwhile get started with conceiving and making a reduced scale model of the exhibition space I want to conceive. (I will need to work with Arduino(s) and add to it/them sensors such an ultrasonic sensor for mesuring the distance and a solar sensor for mesuring the light. I will implement this arduino device inside a custom made wall that will be conceived in a wood workshop and fixed on 2 rails in order to slide.)

  • Is my goal to show something final or not for graduation project end?

Why do you want to make it?

Details are important, together they create singular contexts, and singular contexts create singular experiences.

Who can help you and how?

About the project itself:

  • Reinaart Van Hoe apparently worked on a very similar project a while ago, I need to talk to him.
  • Stephane Pichard, old tutor, we worked together several years on conceptualizing installations and exhibitions spaces

About creating the physical elements:

  • People in wood station
  • People in metal station
  • People in interaction station

About Arduinos:

  • Dennis de Bel who introduced me to Arduino and willing to answer to my questions
  • Louisa Teichmann also working with Arduino for graduation, we are on the same path.

About Theory:

  • Emmanuel Cyriaque, teacher, curator and my previous theorical tutor

About writting and theory:

  • Rosa Zangenberg got a degree in art, media and society and can help me to write and get more references about my research.

Relation to previous practice

I come from a graphic design background. During my studies my desire has been more and more to bring questions and make installations/works that directly concerned the tools, formats and medias I was dealing with as a designer.During my previous Master in graphic design, I started reflecting on the status of networked writing and reading (by programming my thesis in the form of an online website). Subsequently, I wished to question the effects of the process of transposition/transcoding a content from the Web to Print (by printing my publication on different physical supports such as a book or on flags). Then, I got interested into what I called "the mediatization of media", which removes the media as a mediating tool to transform it as a content itself. Finally, I started getting interested into questions related to the exhibition space, (by designing a scenography willing to translate in a physical exhibition space; the texts and images from my Web to Print thesis). This is how I created a publication embodied in the form of an "physical exhibition interface", where visitors and the jury could find a series of interactive installations, displayed into four different rooms, willing to suggest a physical and almost architectural experience of the new media. After professionalising myself as a freelance graphic designer for one year, I wished to get back on researching/making about theses subjects and to extend them to futher problematics. My goal was and remain also to make this research more intelligible. That's how I applied and got accepted at Piet Zwart Institute as part of the Experiemental Publishing Master. As a first year student among 9 others, I worked on 3 collective publications (Special Issue 13; 14; 15). During the Special Issue 13, I interpreted an essay from Simon(e) van Saarloos, where I amplified her/his discourse on descriptive language by using and overusing meta-descriptions (html tags). This, in order to affect the reader/user understanding and interepreation of the original essay. During the making of the Special Issue 14, I wished to use hidden events from the browser as the main mechanic of a simple video game. During the Special Issue 15, I created an Web instrument that used the user web interface height and width) as variables for the frequencie and the amplitude of the sounds. By doing so, each user visiting the web instrument will get a different sound from the very first moment she/he/they get in.

  • Mediatization of media part is summing up quiet well my practice
  • Anout the special issues, speaking about affecting reader interpretation/experience -> these are effects, is there a similar goal with the graduation project?

Relation to a larger context

More broadly, I wish to question the modern conception of the physical exhibition space as an institutionalized, presivable and unalterable device. In that sense, I feel my project connect to the practice of institutional critique exposed by Hal Foster in After the White Cube; where she compares the museum as a mausoleum, the white cube with a form of art consumerism or entertainment of art.

  • Larger context: about standardization?
  • What are the different aspects gonna respond to?

References

  • Stéphanie Moser, 2010. THE DEVIL IS IN THE DETAILS: MUSEUM - Displays and the Creation of Knowledge. 1st ed. Southampton, England
  • Alexander R. Galloway - The Interface Effect 1st ed. Malden, USA: Polity Press.
  • Jonas Lund, 2012. What you see is what you get
  • Shilpa Gupta, 2009 - 2010. Speaking Wall
  • Frederick Kiesler, 1925, City of space

Sources

Themes (keywords)

  • Museum Display vs Screen display
  • Exhibition space vs User interface
  • Web Elasticy vs Physical Rigidity
  • Museology
  • Media archeology vs Net Art
  • Exhibiting parameters vs Technological context

Notes (self)

User environment on the Web ≠ Spectator environment in physical exhibition space

Spotlighting the User/Spectator interface viewing situations to bring out an absence of uniformity in our user persepctive on the Web, which differs from what we could see in a physical space such as the streets, exhibition space, printed matters, etc. Elastic User Interface Versus Rigid Physical exhibition Space, what does it change in our experience/approach of the contents themselves [See Media Spaces].
Attemps to create modular/flexible exhibitions space are still meaningful? [See Frederick Kiesler] Diffract and make use of the range of user interface viewing situations into a singular sound tool [See Web Oscillator/Civil Entertainment Sirens]
Why flag is such a fascinating media, why is it really special? It is a figurative form of the entity represented; which is often where the flag is positioned physically. Taking it, destroying it, removing it, unfolding it, or letting in stand down a pole are some of the many gestures that can become higly symbolic too. Can flags have any other purpose than symbolizing, probably so (meanwhile have a look at this for example).

On the web: individualized spaces/environments; hyperplasticity; impredicatability; obsolescence

On the Web, the render of same Web page always differs from a user’s Web interface to another, and this, from the very first moment the page is accessed (default settings), no matter what kind of interaction could be engaged between the user and its interface. Even if the contents (text and images) stay the same for everyone, the size; scale; layout; luminosity; hierarchy; etc will always be very likely different depending on the user’s device default settings, and also depending on the custom configurations/addons/plugins she/he/it/they may have applied to it. In a way, this hyper-plasticity of the Web creates a very unique and individualized spaces/environments for the user to navigate through.

In order to overcome the impredicatability of rendering online interfaces among the incredible diversity of connected devices, an adaptability technology was implemented and then widely democratised in the developers' toolbox (see). The fact remains that all parameters cannot be fully considered or mastered, as they are almost innumerable, growing and obsolete in the long term (Updates, Flash player; etc).

In physical space: uniformized/institutionalized spaces/environments; sustainability; predictability

This differs from what can be seen in the physical exhibition space where we engage our bodies and look through an environment which remains the same for everyone. Only our var bodies can move in a position: ‘fixed’ space. The walls, lighting, artwork position, and the circulation are very calculated and institutionalized. In the physical space, there are most likely no possible alteration that can be engaged by the spectator to any of these parameters, everything is curated and stable.

Dealing with the interface paradox

I want to deal with the paradox of the interface being a necessarily invisible and unconsidered mediator. Because the better it mediates, the more it errase itself. Consequence of that is that a great range of parameters are quiet naturally misconsidered.

Questions

  • What if? The technology of flexibility or/and user friendliness was translated/emulated into the physical exhibition space to give the chance to any spectator to generate a customized context surrounding the artwork itself? How could it affect the experience of art itself. See Experiment 1
  • What if? A same page would produce a different continuous sound depending on the way it is rendered on your very own user interface. What would happen if these devices would be puted next to each others with sound on.

In the internet space, the alteration of the format dimensions will most certainly affect the shape of the content being viewed. In the physical exhibition space, what would happen then if the walls could move? Would this affect the position of the work or the light in the room?

Connectios with other student(s) work(s)/research(s) inside XPUB2

from PAD

Kendal is mentioning:

  • Internet spaces
  • Obsolete internet
  • physical vs digital

Naami talks about:

  • how would u define ‘user’ in web context?*
  • user experience*
  • how do we feel familiarity or unfamiliarity in a website?
  • ’me’ and ‘my autonomy’ in web context?
  • website as a space*
  • and user or visitor or (in)habitants in the web space*

Floor is writting:

  • How not to loose the details.

Camillo is questioning:

  • Way(s) to publish as an artist.*

Open problematics

from PAD

  • What if a Web page was emulated into a physical exhibition space?
  • What if the settings of a physical exhibition (design, color, light, architecture, space, light, font, display, layout, circulation) could be altered by the viewer(s)/spectator(s)?
  • How much influential are these parameters in the user/viewer experience/interpretation?
  • Is an exhibition space related to a form of entertainment/Consumption of art/design/etc?
  • How can the internet space help phyisical exhibition spaces to get out of White Cube hegemony?

User viewing contexts (on the Web) from special issue 13

Description

Create motion from the diffraction of the user interface which offers flexible and almost infinite possible renders of a same Web page. The sensible variety of user viewing contexts tells about the placiticy of the user interface. This is the result from the wide range user devices, window or screen sizes, Web browsers, (as part of many other parameters). A first of movement capture and montage of the user interface placticity can be as part of the post-production of my interpretation of the esssay "Tense", part of the Special Issue 13.

Capturing and puting into motion the User interface placticity

Trying to play around with the Browser window resizing in order to create a playful animation decidaced be a thumbnail of the project. The two first screen capture will be the basis of the upcoming motion. I will first try to smooth the window movement and make the two screen capture fit togehter before synchronizing them and looping them.

TENSE MOTION Initial Screen Capture 1
TENSE MOTION Initial Screen Capture 2

















Smoothing/Combining/Synchronizing Frames

Working from a videocapture and trying to smooth the quiet laggy movment of the window was quiet tricky, I got there after a while.

Export 1
Export 3


















Final Result Square + Rectangle Format

Tense Motion V3 - Martin Foucaut
TENSE Motion Rectangle Format Loop in the loop

































Experiment

Concept

Early sketch that is about comparing and questioning our Spectator experience of a physical exhibition space (where everything is often fixed and institutionalized), with our User experience of a Web space (where everything is way more elastic, unpredictable and obsolete). I’m interested about how slighly different can be rendered a same Web page to all different users depending on technological contexts (device nature, browser, IP address, screen size, zoom level, default settings, updates, luminosity, add-ons, restrictions, etc). I would like to try to create a physical exhibition space/installation that would be inspired from the technology of a Web user window interface in order then to play with exhbitions parameters such as the distance between the spectator and the artwork, the circulation in space, the luminosity/lighting of the artwork(s), the sound/acoustics, etc etc etc.

Distance between wall behind the spectator and the artwork has to be translated into a variable that can affect sound or light in the room. Wall position could be connected to the dimensions of a user interface in real time with arduino and a motor.

Technicaly

Create a connected telemeter with an Arduino, a ultrasonic Sensor (HC-SR04) and a ESP8266 module connected to Internet

It seems possible to create your own telemeter with a arduino by implementing an ultrasonic Sensor HC-SR04
By doing so, the values capted by the sensor could potentaialy be directly translated as a variable.
Then with the ESP8266 module, the values could be translated on a database on the internet. Then I could enter that website and see the values from anywhere and use them to control light, sound or anything else I wish.

Tool/Material list:

  • Telemeter (user to get the distance between the device and an obstacle)
  • Rails
  • Handles
  • Wheels
  • Movable light wall
  • Fixed walls
  • USB Cable
  • Connexion cables
  • Arduino
  • ESP8266
Connexion cables (Arduino)
USB Cable
Arduino
HC-SR04 Ultrasonic Sensor
Plywood x 3
Handle
ESP8266
Rail









About the ultrasonic Sensor (HC-SR04)

Characteristics

Here are a few of it's technical characteristic of the HC-SR04 ultrasonic sensor :

  • Power supply: 5v.
  • Consumption in use: 15 mA.
  • Distance range: 2 cm to 5 m.
  • Resolution or accuracy: 3 mm.
  • Measuring angle: < 15°.

Ref More infos about the sensor here and here

Where to buy the ultrasonic Sensor (HC-SR04)


About the ESP8266 module

About

The ESP8266 is a microcontroller IC with Wi-Fi connection, it will allow us to connect the arduino to the internet so we can get the values received directly on a computer or any other connected device.

Ressources about ESP8266 module

Kindly fowarded by Lousia:


Workshop: Arduino + Sensors: An artificial nervous system with Dennis de Bel

In this workshop I will get introduced both to Arduino and sensors, which fit with my desire to create a telemeter.

  • NOTE: I will need to bring your laptop & and micro usb cable (with data transfer capability).
  • PREP:
    Responsive Space Installation Simulation

Getting started

We started with a very basic fake arduino kit, a led, a motor, and a sensor. After making a few connections, we got to understand a bit how it works.


   #include <Servo.h>
   Servo myservo;  // create servo object to control a servo
   int pos = 0;    // variable to store the servo position
   int ldr = 0;    // vairable to store light intensity
   void setup() {
   Serial.begin(9600); // begin serial communication, NOTE:set the same baudrate in the serial monitor/plotter
   myservo.attach(D7);  // attaches the servo on pin 9 to the servo object
   }
   void loop() {
   //lets put the LDR value in a variable we can reuse
   ldr = analogRead(A0);
   
   //the value of the LDR is between 400-900 at the moment 
   //the servo can only go from 0-180
   //so we need to translate 400-900 to 0-180
   //also the LDR value might change depending on the light of day
   //so we need to 'contrain' the value to a certain range
   ldr = constrain(ldr, 400, 900); 
   //now we can translate
   ldr = map(ldr, 400, 900, 0, 180);
   //lets print the LDR value to serial monitor to see if we did a good job
   Serial.println(ldr); // read voltage on analog pin 0, print the value to serial monitor
   //now we can move the sensor accoring to the light/our hand!
   myservo.write(ldr);      // tell servo to go to position in variable 'pos'
   delay(15);    
   }


How to make a engine work
credits: Dennis de Bel
How to make a sensor work
Credits: Dennis de Bel
How to make both sensor and engine works together
Credits: Dennis de Bel
Sensortest during workshop














== Ressources (from Dennis de Bel)

DO IT YOURSELF RESOURCES

  • Instructables is a huge source of (written) tutorials on all kinds of topics. Keep in mind it's more quantity than quality. Interesting for you might be 'diy sensors'
  • Hand Made Electronic (Music): Great resource for cheap, diy electronics project focussing on

sound/music (pdf findable online)

  • Make: Electronics: Amazing, complete guide to everything 'electronics' (Warning, HUGE pdf)
  • Thingiverse: The place to find 3d printable mechanics, enclosures, parts etc.

ELECTRONICS SHOPS (physical)

LIST OF SHOPS (also more physical NL ones)

ELECTRONICS WEBSHOPS NL

ELECTRONICS WEBSHOPS REST

PCB MAKING EU (EXPENSIVE)

PCB MAKING CHINA (CHEAP, BUT CUSTOMS COSTSSSSSSSS + IMPORT TAX)

  • JLCPCB (1 week from design upload to in your hands, low quality solder mask)
  • PCBWAY (1 week from design upload to in your hands)
  • ALLPCB (1 week from design upload to in your hands)

ARDUINO AND SENSORS

SENSOR ONLY KITS

  • 45-in-1 (aliexpress) Example sensor you will find in such a kit documented here

ARDUINO STARTER PROJECTS

or slightly more complex:

or in videos:

or just many different ideas:

or - of course - on Instructables if you want to have a complete course:

or this course:

ARDUINO + PROCESSING (visualizing sensors)

MISCELANIOUS KEYWORDS and LINKS

Installation Simulations

Spectator friendly physical exhibition space.png
Responsive Space (detail)


Responsive Space Installation Simulation
























































Venues

Introduction

We will organize 2 moments of shared work in progress: one in October, one in November. It is not necessarily a presentation, but more conversation-based in order to practice the "making public act". Speak about our work, conversations with people about it, and people talking about our work.


Venue 1: Aquarium

Description


AQUARIUM 1.0


A Small Ecosystem for Living Thoughts

Monday, 11th October
19:30 – 21:30
Leeszaal Rotterdam West
Rijnhoutplein 3, 3014 TZ Rotterdam

with Clara Gradel, Floor van Meeuwen, Martin Foucaut, Camilo Garcia, Federico Poni, Nami Kim, Euna Lee, Kendal Beynon, Jacopo Lega and Louisa Teichmann

It’s oh-fish-ial! Students of the Experimental Publishing Master invite you to dive into their small ecosystem of living thoughts. Join us for an evening of conversation, discussion and new view points. If you look closely, you might even see some early thesis ideas hatching. Let's leave no rock unturned.

Work

Currently working here: https://hub.xpub.nl/sandbot/Martin/XPUB2/02/index.html sandbot link]

Notes from Michael

"telemeter ... distance measurement... affect the light, sound, etc
The user point of view online is very singular, and the different with the institutional context in an exhibition...
As the visitor moves, they explore a range of perspectives... ambivlanent relationship with web window... User interface and th User condition, desire to make a critique of the "white cube" ....
Relate to

Start from a book in the library: What happens when people arrive... People visit a page with their phone... comparison between diff people looking at the "same thing" via a phone screen, contrast with something physicaly in the space. (Play with friction between instructions)"

Pads

Readings (new)(english)(with notes in english)

About Institutional Critique

To read

→ 1. Art and Contemporary Critical Practice: Reinventing Institutional CritiqueDoc
→ 2. From the Critique of Institutions to an Institution of Critique - Andrea FraserDoc
→ 3. Institutional critique, an anthology of artists writings - Alexander AlberroDoc

About Meta

To read

→ 1.  The meta as an aesthetic category Bruno Trentini (2014)
→ 2.  File:RMZ ARTIST WRITING(2).pdf The eye tells the story by Rosa Maria Zangenberg (2017)
→ 3.  Leonardo Da Vinci - Paragone by Louise Farago

About exhibition space

To read

→ 2. Kluitenberg, Eric, ed. Book of imaginary media. Excavating the dream of the ultimate communication medium. Rotterdam: NAi Publishers, 2006.
→ 3. The wall and the canvas: Lissitzky’s spatial experiments and the White Cube
→ 6. Decorative Arts: Billy Al Bengston and Frank Gehry discuss their 1968 collaboration at LACMA by Aram Moshayedi
→ 8.  File:Resonance and Wonder STEPHEN GREENBLATT.pdf Resonance and Wonder - STEPHEN GREENBLATT
→ 9.  A Canon of Exhibitions - Bruce Altshuler File:A Canon of Exhibitions - Bruce Altshuler.pdf
→ 10. Documenta - File:A BRIEF HISTORY OF AN EXHIBITION AND ITS CONTEXTS - Klaus Siebenhaar.pdf A BRIEF HISTORY OF AN EXHIBITION AND ITS CONTEXTS - Klaus Siebenhaar
→ 11. Pallasmaa - The Eyes of the Skin File:Pallasmaa - The Eyes of the Skin.pdf
→ 12. Venturi - Learning from Las Vegas File:Venturi - Learning from Las Vegas.pdf


Reading/Notes

→ 1. After the White Cube. ref 2015 NOTES INSIDE

  • How and why White Cube rised and became democratized
  • White Cube // Consumerism = Art Consumerism?
  • Exhibition Space > Artworks
  • Experience of interpretation = Entertainment of Art?
  • Museum vs Mausoleum


→ 2. Spaces of Experience: Art Gallery Interiors from 1800 – 2000 ref NOTES INSIDE

  • Art vs 50's consumerism / Choregraphy of desire?
  • Check theorists Hermann von Helmholtz and Wilhelm Wundt


→ 3. Colour Critique A Symposium on Colour as an Agent for Taste, Experience and Value in the Exhibition Space NOTES INSIDE
May 24, 2019 - Noise! Frans Hals, Otherwise, Frans Hals Museum
→ 4.  Noise! Frans Hals, Otherwise NOTES INSIDE

  • Role of colours in the viewer's experience of an exhibition
  • Institutional Critique
  • Institutionalised Space / White cube


→ 5. Mental Spaces - Joost Rekveld/Michael van Hoogenhuyze NOTES INSIDE
(course for Artscience 2007/8) doc

  • About perspective
  • About Space time
  • About Cyber Space


→ 6.  THE DEVIL IS IN THE DETAILS: MUSEUM - Displays and the Creation of Knowledge Doc NOTES INSIDE
Stephanie Moser SOUTHAMPTON UNIVERSITY (MUSEUM ANTHROPOLOGY) 2010

  • Architecture (Neoclassical buildings)
  • Big vs Small exhibition Space
  • Lined up objects vs non systematic display
  • Architecture/Design
  • Gallery interiors (Ceiling/Interior Design elements/Furniture
  • Colors
  • Individual lighting of objects vs global lighting
  • Dark vs Bright lighting
  • Chronological vs Thematic arrangement
  • Academic vs Journalistic writting
  • Busy layout vs Minimal Layout
  • Exibition seen vs other exhibitions
  • Themed/idea-oriented vs objectled exhibitions
  • Didactic vs discovery exhibition
  • Contextual, immersive, or atmospheric exhibitions
  • Audience vs Reception


→ 7. Fantasies of the Library - Etienne Turpin (ed.), Anne-Sophie Springer (ed.) Ref; Editeur: The MIT Press; Date de publication: 1 sept. 2018

  • How the a physical organization influence of a bookshelf can influence it's digital version
  • The book as a minitaure gallery/exhibition space
  • The library as a public place of reading
  • Library vs Exhibition Space = Use vs Display
  • Book-theme exhibitions

About User Interface

Readings/Notes

→ 1. bootlegAlexander R. Galloway - The Interface Effect 1st ed. Malden, USA: Polity Press.

  • The interface paradox
  • The less they do, the more they achieve and the more they become invisible & unconsidered
  • The interface as a "significant surface"
  • The interface as a gateway
  • The interface as "the place where information moves from one entity to another"
  • The interface as the media itself
  • The interface as "agitation or generative friction between different formats"
  • The interface as "an area" that "separates and mixes the two worlds that meet together there"


→ 2. bootleg Nick Srnicek - Navigating Neoliberalism: Political Aesthetics in an Age of Crisis NOTES INSIDE
Editeur: medium.com, Date de publication: 20 oct. 2016

  • From an aesthetic of sublime into an aesthetics of the interface
  • Cognitive mapping


→ 3. bootleg Program Or Be Programmed - Ten Commands For A Digital Age Douglas Rushkoff NOTES INSIDE
Douglas Rushkoff, A., 2010. Program Or Be Programmed - Ten Commands For A Digital Age Douglas Rushkoff. 1st ed. Minneapolis, USA: OR Books.

  • "Instead of learning about our technology, we opt for a world in which our technology learns about us."
  • Programmed by the interfaces
  • From a transparent to an opaque medium


→ 4. bootlegThe Best Interface Is No Interface - Golden Krishna NOTES INSIDE
Krishna, G., 2015. The Best Interface Is No Interface: The simple path to brilliant technology (Voices That Matter). 1st ed. unknown: New Riders Publishing.

  • "Screen Obsessed Approach to Design"
  • UI vs UX


→ 5. Plasticity of User Interfaces:A Revised Reference Framework NOTES INSIDE
Gaëlle Calvary, Joëlle Coutaz, David Thevenin Quentin Limbourg, Nathalie Souchon, Laurent Bouillon, Murielle Florins, Jean Vanderdonckt

  • About the term 'Placticity'


→ 6. Interface Critique- Beyond UX - FLORIAN HADLER, ALICE SOINÉ; DANIEL IRRGANG DOC Florian Hadler, Alice Soiné, Daniel Irrgang

  • The interface as an "historical artifact", a "space of power"
  • The interface as human -machine boudary
  • What is interface critique
  • Interface in computer science
  • The screen for Lev Manovitch



More to read/see

→ 1. Bickmore, T.W., Schilit, B.N., Digestor: Device- Independent Access To The World Wide Web, in Proc. of 6th Int. World Wide Web Conf. WWW’6
         (Santa Clara, April 1997)

→ 2. Bouillon, L., Vanderdonckt, J., Souchon, N., Recovering Alternative Presentation Models of a Web Page with VAQUITA, Chapter 27, in Proc. of 4th Int. Conf. on Computer- Aided Design of User Interfaces CADUI’2002
         (Valenciennes, May 15-17, 2002)

→ 3. Calvary, G., Coutaz, J., Thevenin, D., Supporting Context Changes for Plastic User Interfaces: a Process and a Mechanism, in “People and Computers XV –
         Interaction without Frontiers”, Joint Proceedings of AFIHM-BCS Conference on Human-Computer Interaction IHM-HCI’2001(Lille, 10-14 September 2001)

→ 4. Cockton, G., Clarke S., Gray, P., Johnson, C., Literate Development: Weaving Human Context into Design Specifications, in “Critical Issues in User Interface Engineering”,
         P. Palanque & D. Benyon (eds), Springer-Verlag, London, 1995.

→ 5. Graham, T.C.N., Watts, L., Calvary, G., Coutaz, J., Dubois, E., Nigay, L., A Dimension Space for the Design of Interactive Systems within their Physical Environments, in Proc. of Conf. on Designing Interactive Systems DIS’2000
          (New York, August 17-19, 2000,), ACM Press, New York, 2000,

→ 6. Lopez, J.F., Szekely, P., Web page adaptation for Universal Access, in Proc. of Conf. on Universal Access in HCI UAHCI’ 2001
         (New Orleans, August 5-10, 2001), Lawrence Erlbaum Associates, Mahwah, 2001,

→ 7. Thevenin, D., Coutaz, J., Plasticity of User Interfaces: Framework and Research Agenda, in Proc. of 7th IFIP International Conference on Human-Computer Interaction Interact' 99
         (Edinburgh, August 30 - September 3, 1999), Chapman & Hall, London, pp. 110-117.

→ 8. Thevenin, D., Adaptation en Interaction Homme-Machine: Le cas de la Plasticité, Ph.D. thesis, Université Joseph Fourier,
          Grenoble, 21 December 2001.

About User Condition

Readings

→ 1. The User Condition 04: A Mobile First World - Silvio Lorusso Doc

  • Most web user are smarphone users
  • How "mobile's first" affect global web design
  • How "mobile's first" affect the way we use computers

Readings (old)(mostly french)(with notes in french)

Books (old)


→ 1.  L'art comme expérience — John Dewey (french) ⚠️(yet to be filled)⚠️
         publisher: Gallimard (1934)
→ 2.  L'œuvre d'art à l'époque de sa reproductibilité technique — Walter Benjamin (french
         publisher: Alia (1939)
→ 3.  La Galaxie Gutemberg — Marshall McLuhan (french)
         publisher: University of Toronto Press (1962)
→ 3.  Pour comprendre les médias — Marshall McLuhan (french)
         publisher: McGraw-Hill Education (1964)
→ 4.  Dispositif — Jean-Louis Baudry (french)
         publisher: Raymond Bellour, Thierry Kuntzel et Christian Metz (1975)
→ 5.  L’Originalité de l’avant-garde et autres mythes modernistes — Rosalind Krauss (french) ⚠️(yet to be filled)⚠️
         publisher: Macula (1993)
→ 6.  L'art de l'observateur: vision et modernité au XIXe siècle — Jonathan Crary (french)
         publisher: Jacqueline Chambon (Editions) (1994)
→ 7.  Inside the White Cube, the Ideology of Gallery Space — Brian O'Doherty (english) ⚠️(yet to be filled)⚠️
         publisher: Les presses du réel (2008)
→ 8.  Préçis de sémiotique générale — Jean-Marie Klinkenbeg (french) ⚠️(yet to be filled)⚠️
         publisher: Point (2000)
→ 9.  Langage des nouveaux médias — Lev Manovitch (french) ⚠️(yet to be filled)⚠️
         publisher: Presses du Réel (2001)
→ 10. L'empire cybernétique — Cécile Lafontaine (french)
         publisher: Seuil (2004)
→ 11.  La relation comme forme — Jean Louis Boissier (french)
         publisher: Genève, MAMCO(2004)
→ 12.  Le Net Art au musée — Anne Laforêt (french)
         publisher: Questions Théoriques(2011)
→ 13.  Narrative comprehension and Film communication — Edward Branigan (english)
         publisher: Routledge (2013)
→ 14. Statement and counter statement / Notes on experimental Jetset — Experimental Jetset (english)
          publisher: Roma (2015)
→ 15. Post Digital Print — Alessandro Ludovico (french) ≈
          publisher: B42 (2016)
→ 16. L'écran comme mobile — Jean Louis Boissier (french)
          publisher: Presses du réel (2016)
→ 17. Design tactile — Josh Clark (french)
          publisher: Eyrolles (2016)
→ 18. Espaces de l'œuvre, espaces de l'exposition — Pamela Bianchi (french)
          publisher: Eyrolles (2016)
→ 19. Imprimer le monde (french)
          publisher: Éditions HYX et les Éditions du Centre Pompidou (2017)
→ 20. Version 0 - Notes sur le livre numérique (french)
          publisher: ECRIDIL (2018)

Articles (old)

→ 1. Frederick Kiesler — artiste- architecte ⚠️(yet to be filled)⚠️
        (communiqué de presse) Centre pompidou; source : centrepompidou.fr (1996)
→ 2. Oublier l'exposition ⚠️(yet to be filled)⚠️
        Artpress special numéro 21 (2000)
→ 3. Composer avec l’imprévisible: Le questionnaire sur les médias variables ⚠️(yet to be filled)⚠️
        Jon Ippolito; source : variablemedia.net/pdf/Permanence (2003)
→ 4. Esthétique du numérique : rupture et continuité
        Fred Forest; source : archives.icom.museum (2010)
→ 5. La narration interactive ⚠️(yet to be filled)⚠️
        Dragana Trgovčević source : ensci.com/file_intranet/mastere_ctc/etude_Dragana_Trgovcevic.pdf (2011)
→ 6. Des dispositifs aux appareils - L'Espacement d'un calcul
        Anthony Masure source :  anthonymasure.com (2013)
→ 7. Le musée n'est pas un dispositif - Jean-Louis Déotte p.9 - 22 (2011)
→ 8. Apogée et périgée du White Cube Loosli, Alban

References

Exhibition space

→  Prouns Spaces — El lissitzky (1920)
→  City in Space — Frederick Kiesler (1920)
→  The air conditionning Show — Terry Atkinson & Michael Baldwin(1966-67)
→  Sans titre — Michael Asher (1973)
→  Serra Corner prop n°7 (for Nathalie) Richard Serra (1983)
→  Speaking Wall (2009 - 2010)

Nothingness with Media

→  4’’33’ — John Cage (1952)
→  Untitled - A Curse — Tom Friedman (1965)
→  The air conditionning Show — Terry Atkinson & Michael Baldwin(1966-67)
→  Sans titre — Michael Asher (1973)

Mediatization of Media

→  4’’33’ — John Cage (1952)
→  TV Garden — Nam June Paik (1974)
→  Presents — Michael Snow (soon to be translated)
→  Lost Formats Preservation Society — Experimental Jetset (2000)
→  Lost Formats Winterthur — Experimental Jetset (2000)
→  L’atlas critique d’Internet Louise Drulhe (2014-2015)

Flags

→  Netflag — Mark Napier (2002)
→  019 - Flag show (2015)

User perspective

→  What you see is what you get — Jonas Lund (2012)

Media Time perception

→  Present Continuous Past — Dan Graham's (1974)

Experimental cinema

→  Presents — Michael Snow (soon to be translated)
→  Displacements — Michael Naimark (1980)
→  BE NOW HERE — Michael Naimark (1995)

CSS composition

→  Sebastianly Serena
→  Scrollbar Composition
→  into time .com - Rafael Rozendaal
→  Ridge 11 - Nicolas Sassoon
→  Rectangulaire - Claude Closky
→  Jacksonpollock.org - Miltos Manetas
→  Moving Paintings - Annie Abrahams

Media deterioration

→  Img214270417
→  William Basinski - The Disintegration Loops

Undefined

→  Untitled Sans

User friendliness and anti-user friendliness

→  Web-Safe - Juha van Ingen

Media Art conservation

→  The Variable Media Initiative 1999
→  EAI Online Resource Guide forExhibiting, Collecting & Preserving Media Art
→  Matters in Media Art
→  The International Network for the Preservation of Contemporary Art (INCCA)
→  Archiving complex digital artworks - Dušan Barok

Emulation

→  Seeing Double: Emulation in Theory and Practice

Technological Timeline

→  Technological Timeline

Media Art Online Archive

→  ACM SIGGRAPH Art Show Archives
→  Archive of Digital Art (ADA)
→  Ars Electronica Archive
→  Digital Art Web Archive (collected by Cornell)
→  Monoskop
→  The Rhizome ArtBase

Music/Sound

→  The end of music

HTML Quines

→  https://hugohil.github.io/dedans/
→  https://secretgeek.github.io/html_wysiwyg/html.html
→  http://all-html.net/?

More references to check (from THE DEVIL IS IN THE DETAILS: MUSEUM - Displays and the Creation of Knowledge)

  • Alexander, Edward P.

1997 The Museum in America. Walnut Creek,
CA: AltaMira Press.

  • Ambrose, Timoth¡ and Crispin Paine

2006 Museum Basics. 2nd edition. London:
Routledge.

  • Ames, Kenneth L., Barbard Franco, and L. Thomas Frye

1997 Ideas and Images: Developing Interpretive History Exhibits. Walnut Creek,
CA: AltaMira Press.

  • Ames, Michael

1992 Cannibal Tours and Glass Boxes: The Anthropology of Museums. 2nd edition.
Vancouver: University of British Columbia Press.

  • Barringer, Tim, and Tom Fþn, eds.

1997 Colonialism and the Object: Empire,
Material Culture and the Museum. London:
Routledge.

  • Belcher, Michael

199I Exhibitions in Museums.
Leicester: Leicester Museum Studies.

  • Bennett, Tony

1995 The Birth of the Museum.
London: Routledge.

  • Black, Graham

2005 The Engaging Museum. London: Routledge.

  • Bouquet, Mar¡ed.

2001 Academic Anthropology and the Museum.
New York Berghahn Books.

  • Caulton, Tim

1998 Hands on Exhibitions: Managing Interactive Museums and Science Centres.
London: Routledge.

  • Coombes, Annie

1994 Reinventing Africa: Museums, Material Culture and Popular Imagination in Late Victorian and Edwardian England.
New Haven: Yale University Press.

  • Dean, David

1997 Museum Exhibition: Theory and Practice.
London: Routledge.

  • Dubin, Steven

1999 Displays of Power: Memory and Amnesia in the American Museum. New York New York University Press.

  • 2006 Transforming Museums: Mounting Queen Victoria in a Democratic South Africa.

New York Palgrave Macmillan.

  • Falk, John H., and Lynn Dierking

2000 Learning from Museums: Visitor Experiences and the Making of Meaning.
Walnut Creek, CA: AltaMira Press.

  • Fienup-Riordan, Anne

2005 Yup'ik Elders at the Ethnologisches Museum
Berlin: Fieldwork Tumed on Its Head. Seattle: University of Washington Press.

  • Hein, George

1998 Learning in the Museum. London: Routledge.

  • Henderson, Am¡ and Adrienne Kaeppler

1997 Exhibiting Dilemmas: Issues of Representation at the Smithsonian.
Washington, DC: Smithsonian Institution Press.
"In twelve essays on such diverse Smithsonian Institution holdings as the Hope Diamond, the Wright Flyer, wooden Zuni carvings, and the Greensboro, North Carolina Woolworth lunch counter that became a symbol of the Civil Rights movement, Exhibiting Dilemmas explores a wide range of social, political, and ethical questions faced by museum curators in their roles as custodians of culture."

  • Hooper-Greenhill, Eileen

1991 Museum and Gallery Education.
Leicester:Leicester University Press.

  • 1992 Museums and the Shaping of Knowledge.

London: Routledge.

  • 1994 Museums and Their Visitors.

London: Routledge.

  • 2001 Cultural Diversity: Developing Museum Audiences in Britain.

Leicester: Leicester University Press.

  • Kaplan, Flora E. S.

1995 Museums and the Making of 'Ourselves.'
Leicester: Leicester University Press.

  • Karp, Ivan, and Steven D. Lavine

1991 Exhibiting Cultures: The Poetics and Politics of Museum Display.
Washington, DC: Smithsonian Institution Press.

  • Kreps, Christina F.

2003 Liberating Culture: Cross-Cultural Perpectives on Museums, Curation, and heritage Preservation.
London: Routledge.

  • Lindauer, Margaret

2006 The Critical Museum Visitor.
New Museum Theory and Practice: An Introduction. f. Marstine, ed. Pp. 203-225.
Malden: Wiley-Blackwell.

  • Lord, Barr¡ and Gail Lord, eds.

2002 The Manual of Museum Exhibitions.
Wal-nut Creek, CA:AltaMira Press.

  • Macdonald, Sharon, ed.

1998 The Politics of Display. London: Routledge.

  • Macdonald, Sharon, and Gordon Fyfe

1996 Theorizing Museums. Oxford: Blackwell.

  • MacGregor, Arthur


2007 Curiosity and Enlightenment: Collecting and Collections from the Sixteenth to the Nineteenth century.
New Haven: Yale University Press.

  • Macleod, Suzanne, ed.

2005 Reshaping Museum Space: Architecture,Design, Exhibitions. London: Routledge.

  • Mcloughlin, Moira

1999 Museums and the Representation of Native Canadians.
New York Garland Publishing.

  • Metzler, Sally

2008 Theatres of Nature: Dioramas at the Field Museum.
Chicago: Field Museum of Natural History.

  • Moore, Kevin

1997 Museums and Popular Culture.
London: Cassell.

  • Moser, Stephanie

1999 The Dilemma of Didactic Displays: Habitat Dioramas, Life-Groups and Reconstruc- tions of the Past. In Making Early Histories in Museums.
N. Merriman, ed. Pp. 65-116.
London: Cassell/Leicester University Press.

  • 2001 Archaeological Representation: TheVisual Conventions for Constructing Knowledge about the Past. In Archaeological Theory Today.


I. Hodder, ed. Pp. 262-283.
Cambridge: Polity Press.

  • 2003 Representing Human Origins: Constructing Knowledge in Museums and Dismantling the Display Canon.

public Archaeology 3(t):I-17.

  • 2006 Wondrous Curiosities: Ancient Egypt at the British Museum. Chicago: Chicago University Press.


  • 2008 Archaeological Representation: The Consumption and Creation of the Past.

In Oxford Handbook of Archaeology. B. Cunliffe and C. Gosden, eds. pp. 1048- 1077.
Oxford: Oxford University press. Pearce,

  • Susan M., ed.

1994 Interpreting Objects and Collections.
Routledge: Leicester Readers in Museum Studies.

  • Pearce, Susan M.

1998 Museums, Objects and Collections.
Leicester: Leicester University Press.

  • Peers, Laura, and Alison K. Brown, eds.


2003 Museums and Source Communities: A Routledge Reader. London: Routledge.

  • Quinn, Stephen C.

2006 Windows on Nature: The Great Habitat
Dioramas of the American Museum of Natural History. New York Harry N. Abrams,

  • Roberts, Lisa C.

1997 From Knowledge to Narrative: Educators and the Changing Museum. Washington,
DC: Smithsonian Institute Press.

  • Sandell, Richard, ed.

2002 Museums, Societ¡ Inequality.
London: Routledge.

  • Scott, Monique

2007 Rethinking Evolution in the Museum: Envisioning African Origins.
London: Routledge.

  • Serrell, Barbara

1996 Exhibit Labels: An Interpretive Approach.
Walnut Creek, CA: AltaMira press.

2006 fudging Exhibitions: A Framework for Excellence. Walnut Creek,
CA: Left Coast Press.

  • Sheets-Pyenson, Susan

1988 Cathedrals of Science: The Development ofColonial Natural History Museums During the Late Nineteenth Century.
Ontario: McGill-Queen's lJniversity Press.

  • Simpson, Moira

1996 Making Representations: Museums in the Post-Colonial Era.
London: Routledge.

  • Spalding,Iulian

2002 The Poetic Museum: Reviving Historic Collections.
London: Prestel.

  • Swain, Hedley

2007 An Introduction to Museum Archaeology.
Cambridge: Cambridge University press.

  • Vergo, Petet ed.

1990 The New Museology. London: Reaktion Books.

  • Walsh, Kevin

1992 The Representation of the Past: Museums and Heritage in the Post-Modern World.
London: Routledge.

  • Witcomb, Andrea

2003 Re-Imagining the Museum: Beyond the Mausoleum.
London: Routledge.

  • Yanni, Carla

2005 Nature's Museum; Victorian Science and the Architecture of Display.
Princeton: Princeton Architectural Press