Pads

Prototyping/Pyratechnics Michael / Manetta

Group meeting Michael - https://pad.xpub.nl/p/2021_sandbox

Seminars Steve / Marloes

Graduate Seminar - https://pad.xpub.nl/p/GRS_session1_20_21

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

What do you want to make?

Yet to be filled.

How do you plan to make it?

Yet to be filled. 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.

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.

Why do you want to make it?

yet to be filled.

Who can help you and how?

yet to be filled.

Relation to previous practice

yet to be filled. How does your research connect to previous projects you have done? Here you can use the descriptions you made during the Methods seminar or make new descriptions. Your Text on Method will also be useful in completing this section. I primarily reflected 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 from the Web to Print, by printing my publication on different physical supports. Finally, it was a question of designing a scenography willing to translate in a phyisical exhibition space this text and these images from the Web. This is how my publication became embodied in the form of an exhibition interface directly inspired by the distributed network of Web pages of the original online publication. We find there a series of interactive installations wishing to give to see, to read, but also to make a physical experience of the new media. Use material from last year with Steve. Highligh on continuity, the years of reasearch, writting and practice.

Relation to a larger context

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.)

References

yet to be filled. Use Harvard Reference system https://library.aru.ac.uk/referencing/harvard.html References are not counted in the word count. Try to put some diversity in the authors of your 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

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

Referencing System

Harvard Referencing system PDF

Research

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)

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, 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).

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.

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?

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 1: Elastic Exhibition Space

Goal:

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.

Tools:

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

Connexion cables (Arduino)

USB Cable

Arduino

HC-SR04 Ultrasonic Sensor

Plywood x 3

Handle

Create a telemeter with an Arduino & a ultrasonic Sensor (HC-SR04)

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 be directly translated into javascript as a variable.
Here are a few of it's technical characteristic:

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

Ref

Installation Simulations

ResponsiveSpace2

Spectator friendly physical exhibition space.png

Responsive Space (detail)

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

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

About exhibition space

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

To see/read (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.

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

About User Interface

Readings/Notes

→ 1. bootleg Alexander R. Galloway - The Interface Effect
Editeur: Polity, Date de publication: 8 oct. 2012
→ 2. bootleg Nick Srnicek - Navigating Neoliberalism: Political Aesthetics in an Age of Crisis
Editeur: medium.com, Date de publication: 20 oct. 2016
→ 3. bootleg Program Or Be Programmed - Ten Commands For A Digital Age Douglas Rushkoff
Editeur: OR Books, 1 nov. 2010

"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. bootleg The Best Interface Is No Interface - Golden Krishna
Editeur: New Riders Publishing, Date de publication: 22 févr. 2015

"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'

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

Pads

Prototyping/Pyratechnics Michael / Manetta

Seminars Steve / Marloes

Seminars (source)

Hackpack

Key Dates and Deadlines

Graduate proposal guidelines

What do you want to make?

How do you plan to make it?

What is your timetable?

Why do you want to make it?

Who can help you and how?

Relation to previous practice

Relation to a larger context

References

Guides and Guidelines

About thesis

Thesis criteria

Referencing System

Research

Themes (keywords)

Notes (self)

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

Description

Capturing and puting into motion the User interface placticity

Smoothing/Combining/Synchronizing Frames

Final Result Square + Rectangle Format

Experiment 1: Elastic Exhibition Space

Goal:

Tools:

Create a telemeter with an Arduino & a ultrasonic Sensor (HC-SR04)

Installation Simulations

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

To read

About exhibition space

Reading/Notes

To see/read (from THE DEVIL IS IN THE DETAILS: MUSEUM - Displays and the Creation of Knowledge)

About User Interface

Readings/Notes

More to read/see

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

Books (old)

Articles (old)

References

Exhibition space

Nothingness with Media

Mediatization of Media

Flags

User perspective

Media Time perception

Experimental cinema

CSS composition

Media deterioration

Undefined

User friendliness and anti-user friendliness

Media Art conservation

Emulation

Technological Timeline

Media Art Online Archive

Music/Sound