"Founded in September 1972, Open Space is non-profit artist-run centre located in Victoria, British Columbia. For over thirty years, Open Space has supported professional artists who utilize hybrid and experimental approaches to media, art, music, and performance. As an exhibition and performance centre, Open Space reflects the wide diversity of contemporary art practices in Victoria, across Canada, and beyond. Our commitment to contemporary artists is an inclusive situation, embracing work by artists of different disciplines, media, generations, cultures, and communities.
Open Space supports experimental artistic practices in all contemporary arts disciplines, acting as a laboratory for engaging art, artists, and audiences."
(Open Space Arts Society Vision Statement, 2010)
Fig.1 "Video as a Cultural Metaphor" Artist: Chris Creighton-Kelly, Date: March 9 and 10, 1979.
"As it happens, designing Future Interfaces For The Future used to be my line of work. I had the opportunity to design with real working prototypes, not green screens and After Effects, so there certainly are some interactions in the video which I'm a little skeptical of, given that I've actually tried them and the animators presumably haven't. But that's not my problem with the video.
My problem is the opposite, really - this vision, from an interaction perspective, is not visionary. It's a timid increment from the status quo, and the status quo, from an interaction perspective, is actually rather terrible. ...
I'm going to talk about that neglected third factor, human capabilities. What people can do. Because if a tool isn't designed to be used by a person, it can't be a very good tool, right? ...
Do you see what everyone is interacting with? The central component of this Interactive Future? It's there in every photo! That's right! - HANDS. And that's great! I think hands are fantastic! Hands do two things. They are two utterly amazing things, and you rely on them every moment of the day, and most Future Interaction Concepts completely ignore both of them. Hands feel things, and hands manipulate things.
Go ahead and pick up a book. Open it up to some page. Notice how you know where you are in the book by the distribution of weight in each hand, and the thickness of the page stacks between your fingers. Turn a page, and notice how you would know if you grabbed two pages together, by how they would slip apart when you rub them against each other.
Go ahead and pick up a glass of water. Take a sip. Notice how you know how much water is left, by how the weight shifts in response to you tipping it.
Almost every object in the world offers this sort of feedback. It's so taken for granted that we're usually not even aware of it. Take a moment to pick up the objects around you. Use them as you normally would, and sense their tactile response - their texture, pliability, temperature; their distribution of weight; their edges, curves, and ridges; how they respond in your hand as you use them.
There's a reason that our fingertips have some of the densest areas of nerve endings on the body. This is how we experience the world close-up. This is how our tools talk to us. The sense of touch is essential to everything that humans have called 'work' for millions of years.
Now, take out your favorite Magical And Revolutionary Technology Device. Use it for a bit. What did you feel? Did it feel glassy? Did it have no connection whatsoever with the task you were performing?
I call this technology Pictures Under Glass. Pictures Under Glass sacrifice all the tactile richness of working with our hands, offering instead a hokey visual facade."
(Bret Victor, 8 November 2011)
"In the future, as depicted in the 2002 film Minority Report, our periodicals will create interactive, hybrid reading/viewing experiences-with built-in sound and motion-based commercials rather than static advertisements, incorporating news footage with pages that dissolve and re-form to reflect breaking stories. Despite minute gestures in that direction, such as the Amazon Kindle and G24, The Guardianís PDF newspaper thatís updated throughout the day, that vision of media-if thereís really a market for it-is a long way off. ...
Nevertheless, something ... is now available weekly from Dennis Publishing, the company that gave the world The Week, Maxim and several other British 'lad magazines' as well as launched their American spin-offs. Monkey is proportioned like a glossy, has an interface that mimics the turning of pages and even has a magazine-like layout: margins, a basic two-column grid, images combined with text and print-like pacing. The difference is that Monkeyís text sparkles (literally, if not figuratively), dances and slides onto the page. Many of the photos will turn into movies or slideshows (some rather naughty) when clicked, and on some spreads users can shuffle page elements, substituting one image for another. The format also changes to serve its content. A small mini-magazine with short reviews is digitally 'stitched' into the 'middle' of each issue. Additionally, most advertisements come alive, thanks either to Flash, streaming video or some combination, showing previews of movies or commercials for products framed by the equivalent of a full-page ad.
To be sure, Monkey does nothing that isnít done on other websites, and it has formal predecessors for its page interface-the arty This Is a Magazine, for one, and the webified versions of print glossies from Zinio for another. But unlike the wider web-which has evolved its own vocabulary and conventions for storytelling-and other web magazine predecessors-for which the turn-the-page interface seems a formal conceit-Monkey truly blends old and new media design conventions in a way that is both appalling and appealing."
(Jandos Rothstein, 29 January 2008)
Fig.1 Monkey Magazine, 2011. Dennis Publishing, Issue 183, pp.8,9.
"Aryan Kaganof's SMS Sugar Man has either the dubious or celebratory distinction - depending on your point of view of these kinds of things - of being the first feature film shot entirely on a cell phone, specifically the Sony Ericsson W900i. Given the film's strong sexual content, Sony probably won't be championing the film any time soon. But, in their absence, I will.
To Kaganof's grand credit, the technique in which the film was shot never comes across as being gimmicky. The majority of the movie is shot as any traditional movie is shot despite the unique camera being used. Every once in awhile we do get a direct POV shot from one of the characters holding his or her own camera, but this is used very sparingly and is thus unobtrusive.
Scenes are mostly lit and executed as if filmed with a traditional camera. What's most surprising about the movie is that one might presuppose - or, at least I did - that it would be comprised of mostly quick cuts. I don't own a cell phone with a camera, but I had assumed one of them could only hold small files for short scenes. Against expectation, Kaganof comprises SMS Sugar Man with fairly longish shots and gives the film a very lyrical tempo."
(Mike Everleth, 17 November 2008)