The paper investigates how an audience can be challenged to 'perform as interface' pointing towards the activation of a certain attitude; an active mind-set which constantly leads the attention back to the experience of our body; to perceive, critically read and make sense of this experience in relation to the interaction with(in) the technologically mediated world [16]. As a case, the paper focuses on the interactive installation "CHAIR-JUMP-CHUTE" and on the various ways the audience was induced to interact with it. The paper identifies triggers stimulating the participant to become fully - as in physically and mentally - engaged in the interaction with a technological installation in the semi-public setting of a cultural institute. Furthermore, it explores how the perceived thresholds (like other people watching, physical challenges or "apparative resistance" [9], become more than 'elements to overcome' as they can also be seen as giving meaning and depth to the interactive experience. The paper sums up what factors trigger this challenging and at the same time demanding (embodied) interaction, in order for this interaction to become an important actual / critical part of the aesthetic experience of interactive art, as it challenges the participant to perform as interface.
DOCUMENT
The paper investigates how an audience can be challenged to 'perform as interface' pointing towards the activation of a certain attitude; an active mind-set which constantly leads the attention back to the experience of our body; to perceive, critically read and make sense of this experience in relation to the interaction with(in) the technologically mediated world [16]. As a case, the paper focuses on the interactive installation "CHAIR-JUMP-CHUTE" and on the various ways the audience was induced to interact with it. The paper identifies triggers stimulating the participant to become fully - as in physically and mentally - engaged in the interaction with a technological installation in the semi-public setting of a cultural institute. Furthermore, it explores how the perceived thresholds (like other people watching, physical challenges or "apparative resistance" [9], become more than 'elements to overcome' as they can also be seen as giving meaning and depth to the interactive experience. The paper sums up what factors trigger this challenging and at the same time demanding (embodied) interaction, in order for this interaction to become an important actual / critical part of the aesthetic experience of interactive art, as it challenges the participant to perform as interface.
DOCUMENT
This paper reports the responses of nursing home residents who live in a psychogeriatric ward to the abstract interactive art installation ‘Morgendauw’, which was specifically designed for this study. All stakeholders were involved in designing and implementing Morgendauw. The artwork seems able to evoke responses in both the residents and their caregivers, but the amount and duration of the responses observed during the study were limited. 15 interactions over the course of 14 h were noted and almost all of them were initiated by the nursing home staff, physiotherapy students or visitors (n = 12). Interactions lasted for about 3 min on average. Although the nursing home residents initially did not seem to notice the artwork, the threshold of acknowledging and approaching the artwork was quickly overcome when staff nudged or directed the residents’ attention towards the artwork. Beyond this point, nursing home residents generally needed little explanation of the interface to interact with the artwork. The location in which Morgendauw was placed during the study or the characteristics of the installation seemed to create a threshold. Further research should focus on the importance and the effects of context when designing and implementing an interactive art installation in a nursing home environment.
DOCUMENT
The goal of this study was (1) to determine whether and how nursing home residents with dementia respond to the interactive art installation in general and (2) to identify whether responses change when the content type and, therefore, the nature of the interaction with the artwork changes. The interactive art installation ‘VENSTER’ evokes responses in nursing home residents with dementia, illustrating the potential of interactive artworks in the nursing home environment. Frequently observed responses were naming, recognizing or asking questions about depicted content and how the installation worked, physically gesturing towards or tapping on the screen and tapping or singing along to the music. It seemed content matters a lot. When VENSTER is to be used in routine care, the choice of a type of content is critical to the intended experience/usage in practice. In this study, recognition seemed to trigger memory and (in most cases) a verbal reaction, while indistinctness led to asking for more information. When (initially) coached by a care provider, residents actively engaged physically with the screen. Responses differed between content types, which makes it important to further explore different types of content and content as an interface to provide meaningful experiences for nursing home residents. •Implications for rehabilitation •VENSTER can facilitate different types of responses ranging from verbal reactions to active physical engagement. The choice of a type of content is critical to the intended experience/usage in practice. •Activating content seems suitable for use as a meaningful experience during the spare time in between existing activities or therapy. •Sessions with interactive content are short (avg. 30 mins) and intense and can therefore potentially be used as an activating therapy, activity or exercise. •In order to actively engage residents with dementia, the role of the care provider seems very important.
MULTIFILE
The art interactive installation 'Scanlines' was realised at the conference 'Doing Experimental Media Archaeology: Practice & Theory Conference'.
LINK
Niet beschikbaar
DOCUMENT
An installation, presented as part of the Thessaloniki Photobiennale 2018, reflecting on the earlier Ebifananyi exhibitions at the photo museum in Antwerp, Belgium and The Uganda Museum.
LINK
The 1980 World Press Photo edition xdirected the gazes of its audience mainly towards the ‘far east’. ‘The World’ was seen through the lenses of European, Russian and American photographers. This installation asks its audience to consider whether Elly Rwakoma’s photographs could have stood a chance, if only he would have had access to the competition.In 1979 Presidential Photographer Rwakoma was present at a political rally that turned into chaos. He says that there was an attempted assassination on Godfrey Binaisa, who was then the president of Uganda. There were many casualties. The president himself was not injured. The newspaper reports related to the event contradict each other.This investigation is a derived observation related to Ebifananyi 3, All the Tricks – Elly Rwakoma.
LINK
B4B is a multi-year, multi-stakeholder project focused on developing methods to harness big data from smart meters, building management systems and the Internet of Things devices, to reduce energy consumption, increase comfort, respond flexibly to user behaviour and local energy supply and demand, and save on installation maintenance costs. This will be done through the development of faster and more efficient Machine Learning and Artificial Intelligence models and algorithms. The project is geared to existing utility buildings such as commercial and institutional buildings.
DOCUMENT
Ghanaian farmers suffer from a decline in cocoa production partly due to damages and diseases from insect pests. To increase predation by bats on insects on the cocoa plantations we installed two different types of bat boxes on 15 plantations around the village of Buoyem. Bat activity, bat species composition (numbers of insectivorous and frugivorous bats) and insect abundance were measured before and after bat box installation. Insectivorous bats were present on all ofthe sampled plantations, namelyleaf-nosed bats (Hipposideros sp.), slit-faced bats (Nycteridae sp.), horseshoe bats (Rhinolophus sp.) and vesper bats (Vespertilionidae sp.). Furthermore, no correlation between insect abundance and bat activity could be detected. The bat boxes were not occupied yet during the research period since rainy season started in the second half of the measurements and bat activity decreases with increasing precipitation which is supported by our Un dings. Additionally, the available time period between in stallation and measuring of the effects of the boxes was very short when compared to similar researches. Bats alsohave different preferences per species for size and shape of bat boxes and the number of naturally available roosting sites also influences bat box occupancy. Our results suggest that bats are abundant above cocoa plantations in Buoyem and therefore bat boxes have the potential to be ahelpful tool in insect pest control.
DOCUMENT
