More detail ... context glue

Where we are ...

A show via liquid would be based on a number of works, in a traditional context we would consider the curator identifying the works in question, however this may not be the case in liquid. The physical and technical setting for encountering a work can be a highly significant factor, however for the present a relatively pragmatic decision is that the works will be browser ready. The feature of the setting that liquid will support is showing of the works and the contextual views that are associated with them or support them, that is providing a context. The contextual views can vary in technical complexity from windows about a work with static or independently dynamic content, through to "working with the work" views - for example a context view that provides some real-time interaction with the work. Architecturally, it makes sense for the working with the work views to be provided via the server hosting the work, where as independent views can supported by the liquid server. (See outline indicative XML image)

Galley context plane

The gallery itself can also be treated as a context plane. From a particular work, the gallery plane could be "foregrounded" and navigated and then allow the user to approach and view another work.

See the attached sketch.

Parallel context plane interaction - illustrated

The pdf shows the potential for a specific context plane to interact with the work, and for the viewer/user to interact with either as they wish.

Chris

Static online context plane and client dynamic planes - illustrations

An example of a static online context plane. The viewer of a work is able to breakaway and read related web-based material and then return to the work.

The second example is more dynamic but interactively is it still "interleaved", i.e. breaking wawy from the running work of art to exaine other information.

(Documented fully in the attached pdfs)

Context planes - ideas and types

Over the next few days, I hope to post some illustrations of differing context plane ideas. The ideas differ in terms of their likely interaction with works, in terms of their relevant server/network technology and in terms of their look and feel.

These will include a static online plane, a history plane, a dynamic parallel plane, as well as what I'd call a gallery plane. (These terms are labels/placeholders, and better labels are bound to exist!)

Please add to this with your own examples, but give a label so we can refer to them easily.

Thanks

Chris

Context plane interaction ... an illustration.

Below is a pdf file illustrating possible context plane interaction.

Chris

What's a work from a distance?

Online digital interactive art works can be standalone or distributed digital applications, how are "viewers" supposed to encounter them? Traditional works have the feature that they are what they are, a sculpture from a distance is the sculpture. Perhaps architecture is closer to online art, the appearance may draw viewers but going inside a building may be a very different from looking at its exterior.

Exhibiting - how traditional?

Existing sites linking to, collecting, or associating, digital works follow patterns that largely reflect contemporary internet technology and styles. Common techniques include the use of tags, visitor comments and the potential to vote or influence measures. The result is that the sites appear more like archives and less like exhibitions. Admittedly common blog and wiki paradigms might be a familiar approach for internet users, but they detract from the notion of an exhibition with works positioned purposefully in a specific context/architecture.

One objective of Liquid would be to focus upon an exhibition of works as opposed to a collating or recording of works. This point applies the works themselves which should be primary and easily identified, as opposed to being defined by something like their "project page". Thinking back to more traditional exhibits, the work itself is core, only after viewers encounter it may they find the title and artist, and finally perhaps in the catalogue or bookshop find out more about the work's history and interpretation. By contrast "project pages" set out the project as primary, detailing the ideas that in a traditional setting the viewer has to establish for themselves.

Subversion

Subversion is an interesting concept highlighted in initial discussions around Liquid, and with a strong tradition in contemporary art. What would subversion means in Liquid?

One interpretation would be to subvert the setting for an exhibition, for instance, hacking the site so as to mislead viewers about the works and related information. In this case we could say any technical infrastructure can be the subject of subversion and Liquid may be no different. However, there could be more contained "subversion facilitators" designed into Liquid.

One example - "Subverting the curator"

The footprints of curation

How about the idea that visitors and viewers is an exhibition engage in a combination of the experience that the curator "designs" and their own experience. For virtual exhibitions the potential to develop this combination in more flexible and interesting ways exists.

One idea would be for the exhibition to passively embody / reflect features of the previous viewers' experiences. A viewer could then not only "see" what experiences there have been, but make their own similar, different or unqiue. Clearly we cannot consider actual experience as that would be widely held to be unique to a viewer, but we can consider "traces" of experience.