Staging is the creative act of showing something to an audience.When staging, the artist choose and create the context, situationand structure of the presented object, play or installation. The chosen context and situation provide background for the audience interpretations. Meaning is co-created between the artist and audience, based on the cultural and individual understanding of the context and situation. The term installation is open, ambiguous and undefined. One does not completely know what to expect and where to find an installation. It is open towards many interpretations. In this paper we present how we worked with staging of two interactive installations in different exhibition situations, to provoke and motivate different interpretations, expectations and interactions. We argue for staging as a communicative strategy to attract and motivate diverse audiences and user groups to collaborate and co-create through interpretation and interaction. Further we argue that installations have to be open to many possible structures, interpretations, interaction forms and roles the user can take, and shift betweendynamically. When the user dynamically restructure, shift rolesand thereby re-situate the installation, the user is a co-creator in the staging act. We call this dynamic staging.
Montage in cinema means to mount images andsounds from different sources, that are interpreted together and whose oppositions drive the storyfurther. In this paper we develop the montage concept further for co-creation in interactive, tactile, spatial cross-media. As case we use the design of the interactive, tangible, cross-media installation ORFI. ORFI is developed to facilitate collaboration and co-creation between children with severe disabilities and their care persons. In this paper we focus on how we have designed for interactive montage. We present two main types of interactive montage, close and shifted in three dimensions (spatial, temporal and actorial). With the first we mean spatial and temporal closeness, depending on the roles users take and the interpretations they make. With shifted we mean how to use spatial and temporal shifting and distance between the media elements in space and over time, depending on the users’ roles and interpretations. All this to encourage co-creation over time, between a variety of users in different situations.
The traditional role of the musical instrument is to be the working tool of the professional musician. On the instrument the musician performs music for the audience to listen to. In this paper we present an interactive installation, where we expand the role of the instrument to motivate musicking and co-creation between diverse users. We have made an open installation, where users can perform a variety of actions in several situations. By using the abilities of the computer, we have made an installation which can be interpreted to have many roles. It can both be an instrument, a co-musician, a communication partner, a toy, a meeting place and an ambient musical landscape. The users can dynamically shift between roles, based on their abilities, knowledge and motivation.
In this paper we want to explore Field as a concept and as a metaphor for understanding interactive systems. By interactive systems we mean both systems and artworks, where the user by interacting changes the course of events. We intend to show why we need new terms and why we consider Field to be a fruitful concept and term. Further we will show how the Field concept changes both our understanding of what we do as designers and composers and how we acknowledge our audience. We will exemplify the design consequences of the Field concept by going through some design considerations we made when designing the audio tactile installation Mufi.
Målaren och skulptören Olle Bærtling (1911-1981) skildras dels i ett europeiskt sammanhang rörande den abstrakta konstens framväxt, dels i egenskap av skapare av storskaliga, utopiska projekt.