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This is an effective presentation on the paradigm of Natural Interaction in the field of Cultural Heritage.

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Keep the immaterial. Strategies for New Media Art


This is the title of an interesting article appeared on Teknemedia , written by Laura Barreca, author of the thesis "The international debate around the preservation and documentation of new media art."

On the issue of conservation of contemporary art, see also Sonia Grossi, "How to preserve art contemporary and" The Challenges preservation of digital art "Lino Garcia and Pilar Montero Vilar.

In this context one can not consider the work of preservation of the works of New Media Art of the Variable Media Network .

For more information:
http://www.digitalartconservation.org/index.php/en/bibliography.html
http://www.digicult.it/2010/TheDigitalOblivion.asp

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Peter Greenaway between cinema and painting


I found some notes on the speech Peter Greenaway held in late September in Turin for the Prix Italy, where he showed some works of "animation" of the great masterpieces of painting, Leonardo's Last Supper in The Marriage at Cana by Paolo Veronese ..

"How can you compare 8000 years of painting with 115 film?
It is said that the laptop generation believes that there is no paint before Pollock nor the first cinema of Tarantino .. Well, with these projects we wanted to demonstrate that this is not Rembrandt also true and appreciation to those who like Avatar or Star Wars.
Even Rembrandt was a revolutionary, I would have enjoyed seeing our work .. the other party was interested in light, like the film: the light in our design gives effect three-dimensionality to the painting.
Thus we get a dialogue with contemporary masterpiece. "

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Science and museology


on the insert of the Sole 24 Ore on Sunday is not a way of Jorge Wagensberg , creator of the Museum of Barcelona CosmoCaixa.

In" How performs intelligence, locate in the stimulus, in dialogue and understanding 3 strategies to convey the intellectual joy and, ultimately, to set up a museum.

museological An example of the paradox of incompleteness (related to intellectual joy for stimulus): the visitor approaches a liquid whose surface is horizontal but shows mountains and cash equivalents (paradox) discovers that the behavior of a ferrofluid in the presence of a magnetic field.

How do you classify some interactive installations based on these strategies?

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ACM

After Vancouver and Beijing finally ACM conference has landed in Italy, I could not go there ..

Here are some projects / people / places ..

- Rtivss Monica Mendes: Monitor
forests through social networks - the research of interactive art and nanotechnology Victoria Vesna (who calls himself an art (PHYSICS) ist in Being in between)
- philosophy Lea Buechley the MIT Media Lab ( High Low Tech ): Let people fall in love with technology
- Flow Fiona Bowie and Sidney Fels, a permanent installation of public art in Vancouver
- Topological Media Lab that deals with gesture and performance, realtime media choreography, active garments, responsive media, hybrid architecture, in short my place ..

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anthropological paradigm

From COSMO, BODY, CULTURE Encyclopedia anthropological you can extract some basic concepts for the study of anthropology, which adapt to the analysis of tables considered interactive multimedia. The

hand the visitor with its movement and gesture with ( paradigms Body ) takes a ' action on a editing a physical object ' image and triggering a process of writing (projected) on the table.

The installation uses the properties of New media and allows the ' learning takes place through a' physical experience that promotes the persistence of memory ( paradigms Media and training).

Back to the story of a thing

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Metaphors of what


What can penalize or enhancement of the human intervention in the systems is not the artifact computer itself, but the design philosophy from which it springs.

(Schanck 1984)

In conform ity with the poetry of Studio Azzurro, even the media tables are based on the paradigm of Natural Interaction , Which base their operation on a daily gestures involving the manipulation of physical or ns subject to review information in digital multimedia .


The visitor chooses from some containers playing a cover of one of the albums of De Andrè and places it on the table.
The cover is recognized by the system and start the corresponding video content that develop the concept of the disc provide an indication of the historical period, shows interviews with employees through projection on the table.

L ' physical object is used to activate the flow of information that materializes on the same surface on which they move their hands user el ' TUI .

Back to the story of a thing

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The contexts of the thing ..


L ' installation was included (in triplicate) of the exhibition in the second environment, the Hall of Music, among other elements, such as sheet music and original texts on the walls of the room.
The album covers tagged with RFID to enable the projections on the three tables were arranged in piles in several places in the room.


Being a ' to install a temporary traveling exhibition , it is "pop" in several places:

GENOA - Palazzo Ducale (31 Dec 2008 - June 21, 2009)

NUORO - Museum of Man (16 lug 2009 to 10 Jan 2010)

Rome - Ara Pacis Museum (24 Feb 2009 - May 30, 2010)

PALERMO - Former Locomotive Depot Sant'Erasmo (25 Jun 2010 - 10 October 2010)

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What documents do I



The what I intend to analyze is an installation created by Studio Azzurro , inserted in the Music Room exposure

FABRIZIO DE ANDRE '- THE EXHIBITION

designed by Studio Azzurro and edited by Vittorio Bo, Guido Harari, Vincenzo Mollica and Morgia.

The installation is presented as the page dedicated to the room:

"A series of small panels, depicting the covers of major studio albums can be selected and positioned tables on special media, triggering a series of projections. The visitor can then "meet" Fabrizio, his friends and colleagues, the critic Richard Bertoncelli that with their contributions, framing the historical period and social climate in which the record was produced, the mechanisms of writing and recording, etc. All contributions supplemented by videos from concerts and television appearances.

Back to the story of a thing

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The exhibition website is the source of many photographs and drawings illustrating how the installation of projected video and screenshots.

Among documents available to anyone interested in the thing in question is then the exhibition catalog, published by Silvana Editoriale .

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images of what



These are some photos of the installation as well as can be seen in the exhibition.

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New models of the museum ..



Which models of the museum will prevail in the coming years?

Here I collect thoughts on this issue and beginning to indicate some directions ..

the museum
wandering the museum and show
the local museum
... from the blog 's ICOM edited by Alessandra Mottola Molfino .

still reports the article The new identity of the museum space anthropocentric
where, inter alia, through the various stages of evolution of the museum institute:
the museum-temple
the museum laboratory
the virtual museum

The type of museum on which to focus my research could be defined from the intersection of MUSEUM WORKSHOP (where visitors are encouraged to take the experiences that contribute to enrich their knowledge) with the MUSEUM SHOW (information and entertainment, reality and fantasy).

Here we talk about interactive museums :
http://www.touchwindow.it/it/soluzioni/musei-interattivi.html
http://www.ugis.it/a220707-mstmi1.html

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a visit to the PAV

If you recommend a visit to Turin PAV (the glossary can be a useful support), which hosts a series of interactive installations curated by Piero Gilardi .

Some reflections on the work of this artist are present in relational and interactive art by Piero Gilardi and slides of Silvana Vassallo, with more didactic approach.

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Subject



What role do the 'object and culture material in the museum today, in a context where technology (especially the digitization ) operates under the direction of a massive de-materialization heritage?

To explore this topic point out two readings (and I look forward suggestions on other sources ..):

Learning from things: material culture in museums

technology as a communication system for museums intangible

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If an object " obscene" under the interactive museum exhibits can be represented by a video clip exceeded in terms of language and quality performance (old, not historic or ancient), the ' OBSOLESCENCE is the true object of repression.

To save obsolete objects of contemporary , was initiated the project "The history memory" , a virtual museum that collects items "exhaustion".

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Books



Some books deserve a place in my library ..

Arts between action and contemplation

Communicate in the museum

The digital media arts

Multimedia

Studio Azzurro

And these are yet to come ..

- Content Provider
- E-culture
- Peach

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Body driven interactive space



For Flavia Sparacino, application of the paradigm of 'staging Ubiquitous Computing leads to an interactive space museum choreographed in real time by the movements of visitors (for more details see the paper on a show curated by the researcher). These spaces

sono altrimenti chiamati responsive media spaces e dipendono dalla co-presenza delle persone (per questo gli ambienti sensibili sono definiti spazi socializzati da Studio Azzurro ).

"Responsive media spaces augment the theatrical mise-en-scene, which is traditionally composed of setting, costume, lighting and staging, by computational technologies of performance .
These technologies include sensing , e.g. video motion tracking or sensors worn on the body , sound and video Which are generated in real time and average choreography software. The choreography media software is used to read and process the sensory input and to generate the response in form of real time video and sound "(Wolfgang Reitberger ).

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A museum has no reason to exist without a viewer (hence the development of visitor studies ).

"A museum is a portal for access to ideas and knowledge without the presence of exchange of properties, provides experiences and changes in customers who enjoy the its services, is a networking of skills, ideas, cognitive content. The
user is involved in the production of meanings and media materials (books and places of exposure) are only as structures on which to develop products and intangible values \u200b\u200bthat are born. "
( Gabriele Salvaterra )

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PUBLICATIONS

Here is a series of papers and articles related to the theme of ' natural interaction within the exhibition ..

Hornecker
Learning from Interactive Museum Installations About Interaction Design for Public Settings

Sparacino
scenographies of the Past and Museums of the Future: From the Wunderkammer to Body-Driven Interactive Narrative Spaces

Ciolfi
Visitors' Contributions As Cultural Heritage: Designing for Participation ( trad. eng)

Del Bimbo, Valli
Multi-User Natural Interaction System based on Real-Time Hand Tracking and Gesture Recognition

Natural Interfaces to Enhance Visitors' Experiences

Salvaterra
technology as a system intellectual communication for museums

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End User Interaction Design Framework



Here are some references to collection centers Interaction Design who is also active in the area of \u200b\u200bthe museum.

Interaction Design Centre (Limerick)

Sensing Places (Santa Monica, CA)

Natural Interaction (Florence)

Interaction Design Lab (Turin-Milan)

dotdotdot (Milan)