the art and craft of being elsewhere

The Art and Craft of Being ElsewhereAndrea Resmini

Flextrack, IA Summit 2011, Denver

0

GREY HAVENS 8 days

MORDOR5 months 22 days

pervasive information architecturehttp://pervasiveia.com/

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

how is that we do not get lost in movies?

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

#1 context is spatial

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

d resmini where's that pic of Parksy dancing naked on the table in the boss' office?

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

In your room with a friendhttp://www.flickr.com/photos/46037115@N04/4233027629/

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

@resmini where's that pic of Parksy dancing naked on the table in the boss' office?

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

In a stadium with a crowdhttp://gm25liveen.web-log.nl/george_michael_25_live_en/blog/index.html

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

media always imply spatial relationships

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

not understanding them = bad

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

(Note: not Parksy)

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

#2 communication is abstraction

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

Grotte GenovesiAbstraction and rhythm in cave paintings (Sicily, Italy)

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

#3 we understand the abstractby means of the concrete

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

Getting lost in spaceLe Petit Poucet, or Little Thumb

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

Getting lost in timeScarlett Johansson revives Cinderella for Disney

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

SPACE TIME

RHYTHM

LANGUAGE MUSIC

MATHEMATICS

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

what is space?

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

SpaceSome remote area of the Moon (http://commons.wikimedia.org/wiki/File:NASA_Apollo_11_photo_AS11-40-5967.jpg)

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

SpaceSome remote cold area of the Earth

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

space is the base experience of our embodiment as human beings, and it is objective, impersonal, undifferentiated

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

#4 semantic or digital space, or the Web, do not map precisely to a single physical representation

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

The InternetThe Internet as connected nodes in terms of abstract network traffic

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

The InternetThe Internet as a resource

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

they can be places, and they need to be places if they want to

provide satisfying experiences

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

what is place?

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

PlaceI swear this is not my workplace

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

PlaceTotem pole and community house in Tlingit, British Columbia

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

PlaceThe home of Bilbo Baggins, Esq. as Tolkien originally envisioned it

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

place involves, besides physical space, memories, experiences, and behavioral patterns: it is personal, subjective, and communitarian

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

Place is like homeJudith Mackey, Celebrate Me Home. Z-Bar Ranch in Snow, Flint Hills, Kansas (www.phnxgallery.com/page/page/2118275.htm)

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

The Internet is a placeA fake Facebook page for Pope Benedict XVI

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

so, how do we communicatespace and place?

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

we evolved languagesfor being elsewhere

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

Masaccio's Tribute Moneyhttp://2.bp.blogspot.com/_CijcaA9yq58/S7vaxhkeg_I/AAAAAAAAFd0/eFgqLjxkgn4/s1600/Good+Tribute+Money+copy.jpg

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

12 1 3The Tribute: structure

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

Miller's Dark Knight ReturnsDC Comics, 1986

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

1The Dark Knight Returns: structureDC Comics, 1986

1

1

1

Filming in studioSchneider – Sörensen, Vor Tids Dame, 1912

The Great Train RobberyEdwin S. Porter, 1903 (Library of Congress)

FrankensteinJ. Searle Dawley, 1910 (http://www.youtube.com/watch?v=TcLxsOJK9bs)

TheatreActing conventions and fixed camera point of view contributed to placing the audience in front of the scene

SCENE

AUDIENCE

CAMERA POV

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

no spatial articulation

The Lonely VillaBiograph, 1909 (from Persson, P. (2005). Understanding Cinema)

The Lonely VillaBiograph, 1909 (from Persson, P. (2005). Understanding Cinema)

SCENE

CAMERA POV

AUDIENCE

OUTSIDE SPACE

The Musketeers of Pig AlleySight link establishes an adjacent space outside of the audience current view (1912)

The Musketeers of Pig AlleySight link establishes an adjacent space outside of the audience current view (1912)

SCENE 1 SCENE 2

CAMERA POV CAMERA POV

AUDIENCE AUDIENCE

Dr. Jekyll and Mr. HydeThanhouser, 1912 (from Persson, P. (2003). Understanding Cinema.)

Dr. Jekyll and Mr. HydeThanhouser, 1912 (from Persson, P. (2003). Understanding Cinema.)

Dr. Jekyll and Mr. HydeThanhouser, 1912 (from Persson, P. (2003). Understanding Cinema.)

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

The enlargement of the engraved wedding announcement appears as an entirely new picture. The room suddenly disappears and the hand which holds the card flashes up. Again when we have read the card, it suddenly disappears and we are in the same room again

““

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

1 2

SCENE SCENE

SOMEWHERE ELSE

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

not a technical constraint at allit's a semantic constraint

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

Another marked peculiarity of the Impressionists is the truncated composition, the placing in the foreground of the picture of fragments of figures and objects. There is thought and purpose in this apparent oddness.

““

Child, 1887

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

http://z.about.com/d/arthistory/1/0/I/n/gc_bm_0309_04.jpg

Oarsmen rowing on the YerresGustave Caillebotte, 1877 (http://z.about.com/d/arthistory/1/0/I/n/gc_bm_0309_04.jpg)

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

New Orleans Cotton ExchangeEdgar Degas, 1873 (http://en.wikipedia.org/wiki/File:Cottonexchange1873-Degas.jpg)

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

Place de la ConcordeEdgar Degas, 1875 (http://en.wikipedia.org/wiki/File:Edgar_Degas_Place_de_la_Concorde.jpg)

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

we are inside the paintings

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

place-making in movies has evolved and allows now complex

narratives

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

Pulp FictionQ. Tarantino, 1994

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

Day of the TentacleLucasArts, 1993

SCENE

AUDIENCE

CAMERA POV

MystThe glorified theatre

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

Alone in the darkInfogrames, 1993

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

Alone in the darkInfogrames, 1993

place-making in videogames has evolved

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

#5 visual and narrative syntax might differ, but successful experiences strive for place-

making

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

A map of Arkham, MACentral Arkham in a handwritten map drawn by H. P. Lovecraft

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

it would even be an interesting place, if not for the fact that

it only exists in fiction

Dark Corners of the EarthA Call of Cthulhu game from Headfirst Productions, 2K and Bethesda, 2005

Dark Corners of the EarthA Call of Cthulhu game from Headfirst Productions, 2K and Bethesda, 2005

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

we need place, but place has nothing to do with 'real': it has to do with being there

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

FINE ARTS

CINEMA

VIDEOGAMES

CYBERSPACE

OUTSIDE INSIDE

OUTSIDE

OUTSIDE

INSIDE

INSIDE

STATIC DYNAMIC

SPACE PLACE

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

we are still figuring out how to do place-making in cross-

channel, pervasive information architectures

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

we need to figure out waysfor being there. Like this:

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

Visit the Shirehttp://www.hobbitontours.com/

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

Be inside the paintingThe home of Bilbo Baggins in New Zealand

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

Thank you

Twitter: @resmini Book: http://pervasiveia.com/