Practices of place-making through locative media artworks

Peer-reviewed

User expectations for media sharing practices in open display networks

Open Display Networks have the potential to allow many content creators to publish their media to an open-ended set of screen displays. However, this raises the issue of how to match that content to the right displays. In this study, we aim to understand how the perceived utility of particular media sharing scenarios is affected by three independent variables, more specifically: (a) the locativeness of the content being shared; (b) how personal that content is and (c) the scope in which it is being shared. To assess these effects, we composed a set of 24 media sharing scenarios embedded with different treatments of our three independent variables. We then asked 100 participants to express their perception of the relevance of those scenarios. The results suggest a clear preference for scenarios where content is both local and directly related to the person that is publishing it. This is in stark contrast to the types of content that are commonly found in public displays, and confirms the opportunity that open displays networks may represent a new media for self-expression. This novel understanding may inform the design of new publication paradigms that will enable people to share media across the display networks.

Relocating the Frame: Object-Oriented (1.) and Locative Art (2.) Environments

The locative project is in a condition of emergence, an embryonic state in which everything is still up for grabs, a zone of consistency yet to emerge. As an emergent practice locative art, like locative media generally, it is simultaneously opening up new ways of engaging in the world and mapping its own domain. (Drew Hemment, 2004) Artists and scientists have always used whatever emerging technologies existed at their particular time throughout history to push the boundaries of their fields of practice. The use of new technologies or the notion of ‘new’ media is neither particularly new nor novel. Humans are adaptive, evolving and will continue to invent and explore technological innovation. This paper asks the following questions: what role does adaptive and/or intelligent art play in the future of public spaces, and how does this intervention alter the relationship between theory and practice? Does locative or installation-based art reach more people, and does ‘intelligent’ or ‘smart’ art have a larger role to play in the beginning of this century? The speakers will discuss their current collaborative prototype and within the presentation demonstrate how software art has the potential to activate public spaces, and therefore contribute to a change in spatial or locative awareness. It is argued that the role and perhaps even the representation of the audience/viewer is left altered through this intervention. 1. A form of electronic imagery created by a collection of mathematically defined lines and/or curves. 2. An experiential form of art which engages the viewer both from within a specific location and in response to their intentional or unintentional input.

Espacio y tiempo en el imaginario digital. La construcción técnico estética de la espacio-temporalidad contemporánea.

Partiendo de la idea ampliamente aceptada de que las TIC (Tecnologías de Información y Comunicación) han tenido una profunda influencia en los modos en que la sociedad contemporánea experimenta y concibe las nociones de espacio y tiempo, y sustentándose en el contexto de la importancia adquirida por dichas nociones en la comprensión de los procesos sociales en general y estéticos en particular, esta investigación ha tenido por objetivo analizar la espacio-temporalidad en el contexto específico de la era digital. Poniendo en relación la fenomenología de los dispositivos tecnológicos con las nuevas estrategias de representación y puesta en imagen del espacio y el tiempo, nuestro propósito ha sido mostrar no sólo cómo a través de las prácticas artísticas digitales puede identificarse y analizarse el imaginario espacio-temporal de la era digital, sino también cómo éstas –basadas en una larga trayectoria estética de intersecciones entre arte y tecnología- han revestido al espacio y al tiempo de nuevas fenomenologías posibles, dando lugar a nuevas formas de percibirlos y cumpliendo, por tanto, un papel activo en la configuración de dicho imaginario y sus sucesivas transformaciones. La perspectiva teórica adoptada para esta investigación parte de las teorías postmodernas del espacio y el tiempo –considerando autores como Harvey o Jameson-, recurriendo a la sociología del Imaginario Social desarrollada por Castoriadis, Castro-Nogueira o J. L. Pintos para comprender cómo el espacio y el tiempo adquieren significaciones particulares. Combinando estas bases teóricas con los estudios visuales y los trabajos de teóricos de los medios como McLuhan, De Kerckhove o Lev Manovich, se establecerían las posibles relaciones entre las tecnologías, las representaciones sociales del espacio y el tiempo – analizadas a partir de metáforas como “compresión espacio-temporal”, “espacio de los flujos” o “tiempo atemporal” y sus relaciones con el Ciberespacio- y la fenomenología espacio-temporal de las prácticas artísticas y sus estrategias de representación visual –tomando como objeto de estudio tipologías artísticas que van desde el Hipercine a la Realidad Virtual y Aumentada, los Medios Locativos o la Telepresencia. La conclusión que hemos podido extraer de este estudio es que si bien distintos tipos de tecnologías afectan operacional y perceptivamente a la construcción social de la espacio-temporalidad, los modos en que estas tecnologías han estetizado la propia realidad y los modos en que condicionan la construcción estética de las nociones de espacio y tiempo, tanto a partir de la propia fenomenología del dispositivo como de la experimentación creativa con el mismo, ejercen una profunda influencia sobre el imaginario social y espacio-temporal propios de la era digital.

Tilasuhteet liikkeessä

Kirjallisuusarvostelu

As relações públicas na ambiência da comunicação móvel digital: o QR code como estratégia de comunicação

The internet as well as all technologies arising from it are transforming and changing socially and economically, the forms of relationships between people and organizations. The environment of digital mobile communication is on the rise, allowing more communication strategies in public relations to be enhanced, in order to allow effective dialogue, relationship and interaction between organizations and their stakeholders. Accordingly, the purpose of this paper is to analyze digital communications, especially a locative media tool that has been gaining ground in communication activities: Quick Response Code. So in addition to conceptualize and contextualize it, one tried to map out various campaigns, both national and international, who made use of the QR Code, highlighting the strategic role that this tool can have in Integrated PR planning, in order to create visibility and to establish effective and lasting relationships with the brand / organization

SPelha: poética locativa

Pós-graduação em Artes - IA

Território hipermediatizado e cidades locativas: o Projeto "Imaterialaveiro" na divulgação do património (i)material de Aveiro

O presente trabalho visa contribuir com a conceção e implementação de uma plataforma web na área do turismo e da cultura, mais especificamente dedicada ao património (i)material, a cidade de Aveiro. A ambição do projeto é apresentar às pessoas que façam o uso do site www.imaterialaveiro.yolasite.com, o que está por trás de determinados aspetos que caracterizam a cidade de Aveiro, em especial o componente cultural, simbólico e histórico que não pode ser visto facilmente. O projeto tem dois grandes objetivos, o primeiro é fazer um levantamento bibliográfico do que já foi escrito sobre os media locativos e território hipermediatizado, tentando identificar definições dadas por autores diferentes, os exemplos trazidos por esses autores acerca destes media locativos num território hipermediatizado e qual o papel cultural desses dois elementos tecnológicos na atualidade. O segundo grande objetivo é a criação de um mapa virtual baseado em geolocalização. O projeto ImaterialAveiro terá como propósito transmitir através de vídeos o patrimônio (i)material da cidade de Aveiro. A escolha destes patrimônios (i)materiais será um grande desafio no trabalho, tendo em vista que a UNESCO, que é o órgão responsável pela identificação deste tipo de patrimônio, ainda não reconheceu nenhum aspeto da cidade de Aveiro como patrimônio imaterial. Logo, a escolha far-seá com a ajuda dos agentes locais, sendo assim, também, um desafio de cidadania participante. O projeto pretende contribuir para a análise dos media locativos e para a reflexão sobre a sua influência na experiência das cidades, além de deixar para a cidade de Aveiro um exemplo de como interagir com a cultura intangível através da geolocalização.

Média-arte locativa e mapeamentos dinâmicos na compreensão de fluxos urbanos : o contributo do dispositivo móvel na atividade do caminhar como prática artística

O interesse pela análise de espaços urbanos através de dispositivos comunicacionais móveis (de meios digitais) – perspetivando a sua transformação contando com a participação colaborativa da população – traduz o enquadramento geral da investigação. As práticas artísticas, complementadas por métodos de estudo de cidades (capazes de abordarem a respetiva complexidade de modo multioperativo e flexível), foram integradas na pesquisa tendo em linha de conta o acentuado desenvolvimento que as mesmas têm conhecido para a compreensão da atual condição urbana. O resultado foca a hibridização de processos que permitem acrescentar conhecimento coletivo sobre estruturas urbanas, expresso em mapeamentos dinâmicos que promovem leituras aumentadas de realidades urbanas. Assente no enquadramento teórico e respetiva revisão da literatura (abrangendo áreas disciplinares da média-arte locativa, da análise urbana e dos mapeamentos dinâmicos), procedeu-se ao desenvolvimento de dois artefactos complementares, cuja elaboração implicou três fases: i) pré-produção; ii) produção; iii) pós-produção. Na primeira, conceptualizaram-se os artefactos, definindo-se critérios e especificando parâmetros de análise. Complementarmente, consideraram-se softwares a utilizar bem como a seleção de atores urbanos que participaram em experiências associadas à investigação. No que se refere à produção, encetaram-se diversas ações de apropriação e apreensão de espaços urbanos selecionados na Vila de Caminha, recorrendo à técnica do caminhar mediado pela tecnologia. Na terceira fase, a informação resultante foi analisada, comparada e sistematizada através de uma reflexão final. Registaram-se marcas e apropriações na Vila de Caminha, integrando abordagens da média-arte locativa, da morfologia urbana e tecnologias digitais. A partir desta metodologia, a resposta aos objetivos da investigação contribui para a colmatação da lacuna identificada no estado arte, dado demonstrar-se a relevância da convergência operativa entre a apreensão urbana e os fluxos informacionais e comunicacionais para o revelar de vivências espaciais urbanas quotidianas (passadas e presentes) que ocorrem sobre a estrutura física das cidades. Em síntese, as práticas artísticas, provindas da média-arte locativa, expressam – em mapeamentos dinâmicos e através de realidade aumentada – o devir coletivo de experiências individuais nos espaços das cidades, acrescentando histórias à sua memória e história urbana.

'Scratch' locative audio drama - report to BBC executives on trial at BBC FreeThinking 2008

‘Scratch’ investigates the use of physical space as a representation of narrative and dramatic structure. An audio-drama, it is a world-first in being location-sensitive without being tied to any particular place (preceding attempts by others have emphasised location-specific aspects of the genre). Developed in collaboration with and part-funded by BBC Radio Drama, it builds on research undertaken for ‘Dragons’ (output 4). It uses pre-recorded audio on GPS-enabled mobile devices allowing sounds to be virtually attached to locations in an outdoor space. As participants move, they encounter scenes forming a coherent drama which behave differently if the same place is visited more than once. This translocational approach opens novel artistic possibilities exploited through team expertise in narrative, sound design and advanced interaction. It is also significant in the economics of broadcast media as a more viable proposition than the many experimental locative experiences which have been site-specific: this was of great interest to the BBC. The public performance selected for BBC FreeThinking, 1-2 September 2008 in Liverpool as part of European Capital of Culture was reported in a co-authored 2009 conference presentation at ISEA, Belfast, 26-29 August 2009 and in a co-authored short chapter in Spierling and Szilas (eds.) Interactive Storytelling, Springer 2008. Boyd Davis directed the project and devised and undertook the evaluation with 40 trial listeners, reporting to BBC executives (http://researchonline.rca.ac.uk/1000/) for whom a second trial was also run in London in 2009. The evaluation used interview, video observation and a questionnaire combining an open question at the beginning with more specific questions later, avoiding channelling respondents' reactions immediately after the experience into issues which might not be uppermost in their minds, while also yielding data capable of rigorous analysis. The evaluation was to provide feedback to the makers of the drama and to guide policy at the BBC. [287] Participants were recruited principally through the publicity for FreeThinking 2008 – mainly via the festival website. The average age of participants was 40. The gender of participants was 20 males, 17 females and 3 null returns. The evaluation strategy was to combine an open question at the beginning with more specific questions later. In this way we avoided channeling respondents' initial opinions immediately after the experience into issues which might not be uppermost in their minds, while also yielding data capable of rigorous analysis. The purpose of the evaluation was to provide guidance for ourselves as the makers of the drama and to guide policy at the BBC on locative and other interactive media. The responses are analysed in the report.

An Efficient Protocol For The Generation Of Monocyte Derived Dendritic Cells Using Serum-free Media For Clinical Applications In Post Remission Aml Patients.

Protocols for the generation of dendritic cells (DCs) using serum as a supplementation of culture media leads to reactions due to animal proteins and disease transmissions. Several types of serum-free media (SFM), based on good manufacture practices (GMP), have recently been used and seem to be a viable option. The aim of this study was to evaluate the results of the differentiation, maturation, and function of DCs from Acute Myeloid Leukemia patients (AML), generated in SFM and medium supplemented with autologous serum (AS). DCs were analyzed by phenotype characteristics, viability, and functionality. The results showed the possibility of generating viable DCs in all the conditions tested. In patients, the X-VIVO 15 medium was more efficient than the other media tested in the generation of DCs producing IL-12p70 (p=0.05). Moreover, the presence of AS led to a significant increase of IL-10 by DCs as compared with CellGro (p=0.05) and X-Vivo15 (p=0.05) media, both in patients and donors. We concluded that SFM was efficient in the production of DCs for immunotherapy in AML patients. However, the use of AS appears to interfere with the functional capacity of the generated DCs.

Crescimento fisico e desempenho motor em crianças de 6 a 12 anos decondição socio-economica media da area urbana da provincia de Arequipa-Peru

Universidade Estadual de Campinas. Faculdade de Educação Física

Influence of surface sealant on the translucency of composite resin: effect of immersion time and immersion media

This study evaluated the effect of surface sealant on the translucency of composite resin immersed in different solutions. The study involved the following materials: Charisma, Fortify and coffee, Coca-Cola®, tea and artificial saliva as solutions. Sixty-four specimens (n = 8) were manufactured and immersed in artificial saliva at 37 ± 1 °C. Samples were immersed in the solutions for three times a day and re-immersed in artificial saliva until the translucency readings. The measurements were carried out at nine times: T1 - 24 hours after specimen preparation, T2 - 24 hours after immersion in the solutions, T3 - 48 hours and T4 to T9 - 7, 14, 21, 30, 60 and 90 days, respectively, after immersion. The translucency values were measured using a JOUAN device. The results were subjected to ANOVA and Tukey's test at 5%. The surface sealant was not able to protect the composite resin against staining, the coffee showed the strongest staining action, followed by tea and regarding immersion time, a significant alteration was noted in the translucency of composite resin after 21 days.