Internationales Interaktionslabor

Medienforschungsschwerpunkte im Jahr 2013 / Research Areas for the year 2013



11:30 Conceptual Seminar on Interactive System design

Notes and Keywords from the Seminar



Design of everyday things --- ways of interacting with things
Cues (built) in for how to use a thingObjects that invite to interact (through design, tactility, positioning)
or practical utility

literature: Michel de Certeau: Practices of Every Day
Henri Lefèbvre, Critique of Everyday Life

Frame: as window Box / Photography (Vanessa Vozzo example of recent work)
Inside the video: still with one moving thing /// outside in front: frame
Manipulation of senses (Vanessa V: installation about food)
(outside and inside – black box- the food market)(strawberry or other fruit)
do something in an empty space // how does audience understand?
Put something in front of the “empty” (= frame)
Methodologies; how to attract attention

Young audience, born digital, might expect an arrangement/installation (art) to be active/engaging/involvingPublic Art / site specific art work / artwork in a public space

Intervention : etiquette / parameter (extending or subverting, parodying/ questioning, affirming, transcending)
Frame/window for hand to reach through (Leapfrog/Cameron working Silver Motel mapping, 10 rooms – fingers – 10 colors)

Instructions? Foreplayers? Manuals? How do you make the interaction intuitive, understandable, satisfying?
“Touch me” “come and play with me” go here and do this
run around and wave your hands? Draw yourself in the mirror.
Come inside and talk to me. Move the stones. Touch the cloth. Shout.
Share a memory with me (my microphone). Eat me, I am very good, you can hit me.

*performance art examples: Valie Export (Box piece) / Yoko Ono (Cut Piece)

Put your hand inside the empty space of the frame.
Interaction- sustainability? (narrative /non-narrative)
(Martelo & ) = boat in house, video, row the boat, video goes, riding the boat into the lake, you move left, move right, you see things, people can stay longer, it is immersive & narrative, thus arouse longer participation
abstract, not immersive (Vanessa V) // progression, change? Is there a score or “levels” of action?

role of sound in such interactions?
Garments? Costumes?
Inanimate Objects ?


(cf. narration of Pirandello opera narration: audience to continue the narrative); or they just have to jump up and down on a carpet
one on one? / group? // larger numbers?

Levels of risk? Tangible benefits? Blind investment (trust) --- levels of acceptance of “game” and its rules (instructions)
“Untrained” audience not necessarily liking the exposure of moving in public and “performing” in front of others ; “confessing”? communal experience

Shift/balancing between active participant or watcher/listener

Beethoven Score in a gallery: piano interface for audience?

Studio Azzurri : emotional interface (camera tracking the disc/LP)
Popular music – interface (singer)(Karaoke)

Moving objects
Kinetic art/electronics/robotics: how do/will they relate to emotions and memories : how familiar and affective are particle physics?

Frieder Weiss, Blue Flow. Artaud Forum II, 2012 (c) Birringer

Frieder Weiss, Blue Fow, Artaud Forum 2, 2012.

Robotic art example: Louis Philippe Demers, Cour de Miracle (dysfunctional and sickly robots that we anthropomorphize when we watch their ‘misfortune’)

Finally: the “spiritual side”

Juggling / magic spell or incantation to bind communal experience (shaman)—divine (trickster – gods of the crossroads)Animation and animate objects / voice animation (Thursday workshop_






Further notes on design and performance concepts are published on this site.









Allgemeine Beschreibung des Labors/ General Description of the Lab
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