the art and craft of being elsewhere
DESCRIPTION
Presentation on space and place and the way these have been communicated in various media through the years. This is the Denver flextrack-revised version. Part of the research and work carried out with Luca Rosati for the Pervasive IA book (http://pervasiveia.com/), originally presented at the Web and Beyond 2010 in Amsterdam.TRANSCRIPT
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/