Selected academic works

Selected academic works

Off

Ref 1998/01

Lowend

Michael Johansson & Michael Ericsson

5st designstudenter från LTH arbetar 4 veckor med att skapa arkitektur till stadsdelarna i  staden Abadyl

Galleri skanes konst Malmö

Ref 1999/01

Communicating moods in space

Michael johansson Marika Kajo + n 45 master och kandidatstudenter i interaktionsdesign genomför projekt där de ska bygga virtuella rum som skapar på förhand av dem själva känslor, vilket sedan testas mot en referensgrupp.

A dynamic responsive environment for multiplayer physical interaction.

 

Communicating Moods in Space provides a dynamic environment where people can explore relationships in a spatial context, and space in the context of relationships between people. Interactors move through the ‘live’, responsive, Moodspace, defined by wall-sized projection screens, discovering the laws of interaction that govern it, and working creatively with its conventions – the room itself becomes a character in a dramatic improvisation.

Spatial relationships are composed by the interplay of people, visual imagery and sound/music.

Ref 1999/02

Abadyl

Michael Johansson

Utställning och forskningsprojekt. Abadyl har under sin existens i snart tio år utvecklats till en detaljerad men fortfarande öppen plattform för att i scenarieform stödja och inspirera de inbjudna och tillfälliga deltagarna och medskaparna av The city of Abadyl med att agera i denna fiktion och på det sättet skapa nya artefakter och kunskaper.

Ref 2002/01

Spirits on Stage

Marika Kajo/Katrine Nielsen/Michael Johansson mfl stsudentyer från k3 och Interaktiva Institutet Malmö

 

I Kulturmanegen på Malmöfestivalen upplevade besökarna ett annorlunda Malmö – ett spökmalmö! SPIRITS ON STAGE var ett interaktivt, berättande rum med projektioner och ljud skapades fiktiva och verkliga Malmö-miljöer.

Ref 2003/01

Fieldasy 01

Michael Johansson

Master studenter vid K3 malmö Högskola, Anders Tenggren, Jon Ovander, Jenny Svensson, Pia Skoglund, PHD studenten Annika Urbansdotter

Utställningsvy fieldasy

Galleri Skånes konst Malmö

 

“fieldasy” – fältstudie och fantasy, en expedition ut ur det faktiskt faktiska och in i det faktiskt möjliga.

Ref 2003/02

Ping vs Pong

Hösten 2003 ansvarade jag för ett nioveckors block på temat gaming. För master programmet i interaktionsdesig på K3 malmö Högskola, Vi arbetade med många olika aspekter på spel relaterat till spelforskning.

Helt kort från uppdrags formuleringen.

Den fjärde och sista delen handlar om hur vi kan involvera människor på en konstutställning i ett verk där de på detta sätt blir medskapare. Här ska vi koppla oss tätt på en bestämd sportgren. Där ska vi dekonstruera, omprogrammera och ge dess utbredning och spelregler nytt uttryck och innehåll. Detta kommer sedan att ingå i den utställning som K3 ska göra på konstmuséet i Roskilde.

Ref 2003/03

Hexa-go

Ref 2004/01

F1 Statemachine

Michael Johansson / Master student vid K3 malmö Högskola x-jobb Jon Ovander

 

Formel 1 banebaserad berättande motor programmerad i Flash.

Ref 2004/02

Id boken

Michael Johansson, Annika Nyström Kit baserat undervisningmaterial som vi arbetat med under två år. Vilket senare resulterade i en bok.ok lägg mig då på torsdagar

Ref 2005/01

Recult

REcult research projects was founded by Jörn Messeter and Michael Johansson in 2005.

It has through its partner Do-Fi over the past two years initiated both research and business projects together with several partners, mostly in the Oresunds region. To explore the new field of Place Specific Computing (PSC) as well as develop local digital products and services to customers.

REcult is a research project promoting Place-Specific Computing (PSC) as a new conceptual platform for mobile services motivated by technological progress as well as developments in mobile IT use. PSC addresses the shaping of interactions between

people and place-specific resources, mediated by digital artifacts, and connected to global socio-technical networks. We are always looking to broaden our views and setting up Recult research sites and projects in other countries and contexts. Today we have six sites involved in the project; Malmo Sweden, Berlin Germany; Rome Italy,

Beijing China and Capetown South Africa.

We work closely with students in all of the sites in the project and involve them in both research activities as well as working on specific design proposals and projects within the REcult framework.

Ref 2005/01

Hexa gaming

Michael johansson, Bobbi Sand, ID05 K3.

Under 2005 arbetade vi med de olika komponenter som varit till föremål för ett av master arbetena på ID under 2004

Ref 2005/02

Minglaren

Marika Kajo / Michael Johansson / Master student vid K3 malmö Högskola Johan Salo

 

Minglaren är en interaktiv installation som med hjälp av videokamera kan se och analysera visuella karaktärsdrag.

Länk till minglaren

Ref 2005/03

IN SEARCH OF THE MILITANT CODE

Michael Johansson / Thore Soneson baserat på arkitektur och objekt skapat av studenter vid LTH design

 

Kortfilm i 3D kring en journalists försvinnande i Abadyl.

Ref 2005/04

Loop 1.0 / Memo®ize _ 2005

Michael Johansson / Thore Soneson / Do-Fi

 

Research projekt med Flash navigering. Skärmbaserad demo.

http://www.soneson.net/PROJEKT/index_media.htm

Ref 2008/01

IN SEARCH OF THE MILITANT CODE

Thore Soneson  / Michael Johansson + studenter från k3 malmö högskola

 

Kortfilm i collageform med 3D visuella inslag baserad på scenarier från den animerade världen ABADYL.

http://www.soneson.net/militantcode/index.htm

Ref 2009/01

Mobela_C

Michael Johansson

Studenter från olika universitet i Beijing och western Academy of Beijing i Peking som deltog i arbetet

 

Interaktivt ljudbaserat verk visat på Gallery ArtChannel i Beijing.

Ref 2010/01

Hit Strip Music

Musik och animationsprojekt tillsammans med studenter från Western academy Beijing

Ref 2011/01

Abadyl of tunes

Ambience ’11 exhibition: … where art, technology and design meet / [ed] Annika Hellström, Hanna Landin, Linda Worbin, Borås: University of Borås , 2011, p. 40-43 Conference paper (Other (popular science, discussion, etc.))

Ref 2015/01

Non Places

Text från utställningskatalog

Ref 2016/01

Non Places Gdansk

Ref 2016/02

Ideal Spaces

 Ref 2016/03

Kultur Natten jta 2015 2017

Ref 2017/01

Wanderlost Kristianstad

Ref 2017/02

Wanderlost Köpenhamn

Ref 2017/03

Future city Lab

Ref 2018/01

Ideal Spaces Working Group Venice

WHAT IS AN ARTIFICIAL NATURE AND WHY IS IT IMPORTANT

Today, we live in environments that became our ‘natural’ surroundings although they are not natural at all. Many of them are not even suited for a proper human living, e.g. when you think about the recent situation in urban agglomerations, or about our increasing dependency on internet-based mediated environments which we need and which became quite natural for us. But which are neither natural, nor present the normal, ‘natural’ environment of human beings for the most time of their history. Or consider the bulk of logistic and junk landscapes at the fringes of our cities, topographies which became a normal environment for us. We have even entire landscapes which seem natural but which have been designed for touristic use, faking a natural environment.

To become aware of the unnatural nature of our meanwhile normal environments we all got used to, conceiving them as ‘natural’ – it could be worth the effort for sake of a better living, and for activities related to that.  

Ulrich Gehmann

https://www.idealspaces.org/artificial-natures-venice-2018

Ref 2018/02

Ideal Spaces Working GroupLissabon

The New Art Fest ‘18: Utopia and Global Gentrification 2-30 Nov 2018 Lisbon (various venues)

Referenser artiklar med student medverkan eller med inriktning på att förändra och och utveckla pedagogik och/eller undervisning på kurs och programnivå

Ref 2001/01

Common playground

Marika Kajo / Michael Johansson

 

Is a paper about how we use our experiences in using a computer game platform as a development tool in the areas of art, architecture and drama.

Our approach has been to find ways to do quick prototyping and testing of ideas in a virtual space.

We strive at building general applications independent of the 3D platform used for the specific case rather than getting stuck in a certain game engine or technological generation. The focus has been on the constant dialogue between the concept and its form. Today’s Computer games seem very fit for our purpose.

Ref 2001/02

Gigant

Supervisor for Interactive institute for the interaction design project Gigant for the NIC Nordic interactive conference. Work with former master students Janna Linsjö and Fredrik Ramsten. The project wins first price NIC 2001.

Winner of the future Visionary Challenge

Janna Lindsjö and Fredrik Ramsten won the prize for the best project in the field of interactive technology with their work Gigant. The work was shown parallel in both NIC Art Gallery and NIC Expo. Gigant started as a art-project with physical mobile and social game structures and was initiated by Electrohype in collaboration with Malmö Kommun and the Interactive Institute in Malmö.

Prototyping gigant on the beach to be able to work in a one to one scale.

Gigant@nic 2001

Ref 2003/04

Designer or Artisan

Design versus Craftsmanship in Digital Design

Håkan Edeholt, Michael Johansson, Simon Niedenthal

Arbetet genomfördes med master och kandidat studenter vid K3 malmö Högskola, Interaktionsdesign och Materiell och virtuell design

 

Abstract: As we are approaching the Information – or Post Industrial – Society, we need to question the implications for those designing artifacts for this new context. We therefore present a paper on practice-based design education, for a context in which design has evolved from the requirements set by the Industrial Society to the ones of the Information Society. It is a context that closely relates to the currently emerging situation where Information and Communication Technology (ICT) move from the desktop to pervade most aspects of our everyday world. We show that qualities inherent in the ICT require a deeper understanding of the digital material than common sense seems to demand. There is an urgent need to not only understand ICT as an efficient tool but also as a “design material” with a unique set of characteristics.

Ref 2004/03

Fieldasy

Pixel raiders University of Sheffield

Michael Johansson / Per Linde

Master studenter vid K3 malmö Högskola, Anders Tengren, Jon Ovander, Jenny Svensson

Abstract

Fieldasy is a process for engaging multiple perspectives in the creation of a world, and in the mapping of its virtual space. While the final outcome lies ahead, the process has already produced a series of artistic expressions driving the overall project forward. Fieldasy refers to the methods of fieldwork and of invoking imagination by using physical objects, in some kind of reverse archeology. The objects constitute a shared ground for collaborative creativity, they serve as nodes in a complex narrative and as a basis for the creation of the world.

 

In this article, we describe the process, methods and artifacts developed. We also show how this approach can host and facilitate artistic development in a complex production environment, such as the one of digital media, supported by invited artists, researchers (computer science) and students (interaction design), enabling diverse parties to successively transfer their knowledge into the project.

Ref 2008/02

Place specific Computing

Jörn Messeter, Michel Johansson DIS Cape town SA  (Refereed)

Abstract

An increased interest in the notion of place has evolved in interaction design. Proliferation of wireless infrastructure, developments in digital media, and a ‘spatial turn’ in computing provides the base for place-specific computing as a suggested new genre of interaction design. In the REcult project place- specific computing is explored through design oriented research. This article reports six pilot studies where design students have designed concepts for place-specific computing in Berlin (Germany), Cape Town (South Africa), Rome (Italy) and Malmö (Sweden). Background and arguments for place-specific computing as a genre of interaction design are described. A  total number of 36 design concepts designed for 16 designated zones in the four cities are presented. An analysis of the design concepts are presented indicating potentials, possibilities and problems as directions for future research.

Ref 2008/03

Journey to Abadyl

Michael johansson, Thore Soneson, Jörgen Callesen, Marika Kajo, Jette Lund och Katrine Nielsen

In The journey to Abadyl project we will create an interactive experience in which participants are faced with different dilemmas staged through the portals  and presented by a guide. This mixed reality space contains digital film footage, sound, physical objects, augmented reality, computer games and hidden messages that are all part of a story waiting to be discovered. The interactive experience are based upon “The Anatomy of Choice” -strategies and scenarios that are structured as a matrix in which the participants are exposed to distinct choices that include both moral, ethical, and physical dilemmas and challenges. A kind of computer game in spatial format. Depending on how the guide and participants choose to explore the room and answer the challenges, the story will evolve differently at every performance. Where the audience are confronted with the media worlds changing representation of man and his reality. As artists and designers in particular we have the culture and nurturing to explore, create, and tell stories about possible worlds. Design has its roots in the application of artistic discipline to the engineering of technology, in the form of pattern making for mass production, and as styling for product marketing. Later, design has come into its own as a creative discipline and an origin of innovations rather than something only slapped onto existing ones. Design is one activity of creating the future, not solving old problems as much as inventing new opportunities, still with strong ties to empirical science and engineering but also with the story telling of branding and marketing. At the same time, industries and design have evolved from producing products, to services, and recently to experiences, expressing basic human tenets to create and tell stories. This of course is at the core of fiction, helping us make sense of what it means to be human, how to plan and live our lives, and to find some purpose behind our journey. Science fiction expands on this in a speculative and perhaps ultimate manner, leaving our known world to verge into the fringes of the unknown and beyond.

PRAMnet.org samt  konferencen Wireframe CubeX 2010Då får dudrdelprov2.

Journey to ABADYL (download PDF)

Ref 2011/02

E-participation – engaged participation

Proceedings of ISEA2011 Istanbul, 2011Conference paper (Other academic)

Ref 2011/03

The City of Abadyl

In book: Metaplasticity in Virtual Worlds: Aesthetics and Semantic Concepts. Chapter: The city of Abadyl. Publisher: IGI Global. Editors: Gianluca Mura

Abstract

In the City of Abadyl we try to explore a complex digital space in a setting that invites to participation. We provide a detailed and complex, yet open world that can be utilized in order to generate scenarios for the temporary co-creators of Abadyl, who would then interact in an optional environment and in the end producing new artefacts. Abadyl is a database that contains all the gathered information in different file formats, it is a storage facility for all of the physical artefacts, it is a website used for communication and documentation, it is a map for navigating the City. This combination of interactive situations and artefactual production we called “fieldasy”. We are concentrated on developing collaboration in the production of new media and it´s artefacts. We try to produce artwork that actually incorporates surprising visual and technical proposals that are unusual, enriching and engaging. By building prototypes and iterate it over time and amongst the co-creators, it let us explore this area in a fruitful way, moving between artistic intentions/screenwriting, artefacts and digital generated expressions and script/code writing. Here the virtual object can challenge the physical with qualities that is very hard to achieve in the physical world, and in that conflict, new expressions can be developed. Today Hybrid creations have become a method for working with cultural production not only with different elements of form, but as blending identities of the creators as well. In our prototype work we focus especially on interactive installations and stage design; we realize that the digital design process both demand new forms of conceptualization and prototyping activities to support the design of the expression of the final artwork itself – and maybe in the long run propose a updated and appropriate design theory in this field.

Ref 2012/01

Abadyl of tunes: bring the noise

International Conference on Cyberworlds (CW) / [ed] Arjan Kuijper, Alexei Sourin, 2012, p. 278-282 Conference paper (Refereed)

Abstract

In this paper, in a project still in the making, I will present how we developed a process for collectively producing the explorative soundscapes, using specific constraints of the Abadyl framework influenced by theories from art and architecture. I will show how we worked with a design methodology that brought together an editor and the final expression of the artwork into one surface of interaction and execution using a virtual cityscape as an iterative ground for sound and music explorations. I will also discuss how we tweaked/iterated with the parameters of the framework, the sounds and the final visual expression to match our artistic intention, and finally to bring some noise into Abadyl.

Ref 2013/01

Bring the noise

International Journal of Art, Culture and Design Technologies, ISSN 2155-4196, Vol. 3, no 1, p. 26-35Article in journal (Refereed)

Abstract

In this article the author will present how they developed different processes for collectively producing a series explorative soundscapes and mechanical artefacts using specific constraints influenced by theories from art and architecture. The author will show how they worked with a design methodology that brought together an editor and the final expression of the artwork into one surface of interaction and execution using a virtual cityscape as an iterative ground for sound and music explorations, and give some examples of the different prototypes and iterations. The author will also discuss how they tweaked/iterated with the parameters of the framework, the sounds and the final visual expression to match their artistic intention, and finally to bring some noise into Abadyl. Also influencing the overall framework.

Ref 2013/02

The eight continent: design for an intentional surprise

In: Proceedings: 2013 International Conference on Cyberworlds / [ed] Xiaoyang Mao, Lichan Hong, Los Alamitos: IEEE Computer Society, 2013, p. 232-239Conference paper (Refereed)

Abstract

In this paper I will present and discuss the design thinking, methods, processes and some examples of work, that demonstrates how I together with different co-creators set up a work practice, using digital 3d objects and images. That in different ways and formats helps us to explore how a database, a set of rules can be used in a dialogue with artistic work practice and how such a process can be used to create images and animation in a variety of design and art projects. The main example is a project called Conversation China that still is in its making, here we work with rather complex processes, involving several digital analogue techniques as the basis for creating the images for a 150 pieces porcelain dinner set. My interest in this work is how the intention of the artist or designer is transferred and later embedded in the procedural or algorithmic process and how this intent is organized and set up to secure an desired outcome, mixing the possibilities of the digital media object with manual editing and artistic craftsmanship. With the idea of design fiction, we continue to ask and explore how intent can be critical to the design process as well as the final result, that is rendered between the procedural techniques and the artistic intention. What this paper tries to put forward is how we designed and set up environments for working with non linear and procedural media, their different expressions and forms by using explorable prototypes and design thinking?

Ref 2014/01

Against the self-evident

Real virtuality: about deconstruction and multiplication of world / [ed] Ulrich Gehmann, Martin Rieche, Berlin: Transcript Verlag, 2014, p. 419-441Chapter in book (Refereed)

Abstract

Starting with an exposé of two worldmaking projects, The City of Abadyl and Life Forms, we share insights into creating design fictions using a series of methods that can be generalised to other contexts. We adopt the mindset that the primary result of a design process is the knowledge acquired during a journey of exploration, knowledge which can in turn be applied to co-create a design concept in its broadest sense. We leverage the unknown and a tangle of methods from diverse sources, discussing these in relation to previous thinking and research. Finally, we outline the future development of the design fiction methodology herein.

Ref 2014/02

Evidence, Technology and Uncertainty                        DRHA 2014 University of Greenwich, UK. Digital Research in the Humanities and Arts Digital World. Communication Futures: Connecting interdisciplinary design practices in arts/culture, academia and the creative industries (Panel)        

Abstract

This functionalization in turn leads to the prevailing mindset that the only relevant world is functionalized world. The major effect of these developments is an overall loss of evidence of space and self altogether. Since all these technical formats are results of a certain mindset of how to scientifically treat entities in general, we have to recur to their sources if we want to gain a re-understanding of what evidence means. A major consequence of this development has been a loss of real attentiveness due to the prevailing functional way of both seeing and interpreting entities like objects, humans, etc. This functional way became so deeply embedded as an everyday cultural practice that it suggests (and that we misinterpret it) to be the only way to individual freedom and true individual expression. The functional mindset also lead to the misconception that every discipline on its own is capable of creating understanding of the world. This emphasizes the importance of a multi-perspective view of space and its entities based on the idea to transcend merely scientific or artistic approaches into a more comprehensive and immediate approach and working practice. This can help to re-detect the world and its entities in all the richness and variety they actually have while at the same time transferring new and fruitful knowledge and methodology back to the disciplines. Conceiving wholes instead of fragments as a way to re-detect the world could gain new understanding in the domains of science, humanities and art and therefore increase their explanatory potentials within their already existing domains.

Ref 2014/03

Wanderlost

 Cyberworlds (CW), 2014 International Conference, 2014Conference paper (Refereed)

Abstract

In this paper I will discuss an art and design project called wander lost, were we through co-creation try to populate a virtual world with people, objects and architecture. In this project we have developed a method for gathering input and inspiration for early stages in the design process designing virtual worlds. I will through some example of work show how worlds, real and virtual are as much made as found, and how they can be used to challenged each other into new forms of experiences and expressions, of both physical and virtual spaces. Where the virtual space transformed into maps & instructions can challenge the physical with qualities that is very hard to achieve in the physical world itself, and in that conflict new insights and expressions can revealed. Today Hybrid creations have become a method for working with cultural production not only with different elements of form, but as blending identities of the creators as well, wander lost support that process. We show how we from the virtual settings of the city of Traora we have extracted a series of walks as instructions and invited different co-creators to explore these algorithmical walks in their everyday surrounding in order to be surprised by rediscovery, using a digital camera/smart phone to capture and later communicate their findings. Allowing the unfamiliar to co-exist with the comfortably familiar. To create a process where digital worlds challenge and inspire digital expressions, tools and models with physical play and exploration. Supporting our long-term aim with research in new media is to set up design methods that can be used in a creative and collaborative process. We show how these findings played a crucial role designing the virtual city Traora. The Traora Flaneur kit turns everyday walks into discoveries of both urban contexts as well as ideas for possible virtual worlds.

Ref 2015/02

Wanderlost

Analyzing art, culture, and design in the digital age / [ed] Gianluca Mura, Hershey, Pensylvania: IGI Global, 2015, p. 71-78Chapter in book (Refereed)

Abstract

In this chapter I will discuss a art and design project called wanderlost, were we through co-creation try to populate a virtual world with people, objects and architecture. In this project stages we have developed a method for gathering input and inspiration for early stages in the design process designing virtual worlds. I will through some example of work show how worlds, real and virtual are as much made as found, and how they can be used to challenged each other into new forms of experiences and expressions, of both physical and virtual spaces. Where the virtual space transformed into maps & instructions can challenge the physical with qualities that is very hard to achieve in the physical world itself, and in that conflict new insights and expressions can revealed. Today Hybrid creations have become a method for working with cultural production not only with different elements of form, but as blending identities of the creators as well, wanderlost support that process. We show how we from the virtual settings of the city of Traora we have extracted a series of walks as instructions and invited different co-creators to explore these algorithmical walks in their everyday surrounding in order to be surprised by rediscovery, using a digital camera/smartphone to capture and later communicate their findings. Allowing the unfamiliar to co-exist with the comfortably familiar. To create a process where digital worlds challenge and inspire digital expressions, tools and models with physical play and exploration. Supporting our long-term aim with research in new media is to set up design methods that can be used in a creative and collaborative process. We show how these findings played a crucial role designing the virtual city Traora. The wanderlost method turns everyday walks into discoveries of both urban contexts as well as ideas for possible virtual worlds.

Ref 2015/03

Gestalt
DRHA 2015 Dublin City University, IRELAND.
Digital Research in the Humanities and Arts Digital World. Digital Responses

Conference paper (Refereed)

Abstract

Many disciplines have the culture and nurturing to explore, create, and tell stories about worlds. Therefore, our contribution is about the re-discovery of an idea that has been crucial in occidental thinking and which became underestimated: the notion of gestalt. To conceive real-world (and other) phenomena in terms of gestalt helps to gain a holistic understanding of them, and the aim of our paper therefore is to promote a method to rediscover the world in a less analytical fashion than it has been done in the last 400 years, after an analytical-based perception of reality gained ground with the scientific method developed in the 17th century and later. At the same time, a gestalt-approach helps to reframe (and better understand) recent technological developments as outcomes of an analytical way of thinking. Because analysis and the shaping of processes and entities according to functionalities is not the only or most suitable way to generate understanding, despite we got used to such a general state of mind.

To conceive the world primarily in analytical terms or as a set of functions became culturally accepted. A gestalt-approach can be a promising complement to the prevalent analytical approaches, and the general benefit of such an approach lies in the use of comparative methods to create knowledge or design processes. Also borrowing ideas from Design Theory where Gestalt is analogous to a design process, we can view it as a process of knowledge acquisition and learning from the previously unknown.

Gestalt perception as well as -conception helps to develop another kind of epistemology than the prevalent analytical/functional one, as for instance cybernetics, system theories and bioengineering already demonstrated. It transcends the border between real and virtual towards envisioning a complete reality, and out of that proves to be a method of working with unknown phenomena.

Ref 2016/04

The people´s smart sculpture PS2

ISEA 2016: Journey to Abadyl / [ed] Martin Koplin, 2016Conference paper (Other (popular science, discussion, etc.))

Abstract

The People’s Smart Sculpture (PS2) panel discusses future oriented approaches in smart media-art, developed, designed and exploited for artistic and public participation in the change and re-design of our living environment. The actual debate about a smart future is not taking into account any idea of media art as an instrument for to realize the social sculpture, mentioned by Beuys or as social sculpture itself.

The People’s Smart Sculpture is the only large scale Creative Europe media-art project (2014-2018) in this context. It fosters participative-art and collaborative media-art-processes. The artistic results and the open approaches of the project will be discussed by 5 panelists from 5 countries. The project itself is constituted by 12 project-partners in 8 European countries with more than 350 artists and creatives from 29 countries worlwide. The approach works on two levels: the implementation of cultural participation-projects by media-artists and the ongoing optimization of the art and participation aspects. PS2 integrates diverse groups of people to participate in the non-institutional set up of structures for the people´s re-design of their urban, societal and living environment. Artists, citizens, creatives with a new user’s perception and new skills are able to „medialize“ the Cultural R>evolution of art, culture, society and science: into spaces of a new public.

Ref 2016/05

SOCIAL ART IN EUROPEAN SPACES – AN APPROACH TO PARTICIPATION METHODOLOGIES WITHIN PS2

INTED 2016: 10TH INTERNATIONAL TECHNOLOGY, EDUCATION AND DEVELOPMENT CONFERENCE / [ed] Chova, LG Martinez, AL Torres, IC, 2016, p. 1690-1699Conference paper (Refereed)

Abstract

The People’s Smart Sculpture PS2 – Social Art in European Spaces is a creative research and innovation project about the cultural evolution of the European city of the future. It addresses the growing complexity of life in today’s city spaces and imminent challenges to the development of the urban environment. The People’s Smart Sculpture PS2 explores the possibilities of participation that will become a smart culture technique as a result of the ongoing digitalization of society. 12 partners including universities, educational institutions, museums, galleries, theatres and research institutes in 8 European countries will organize 11 connected open labs integrating new art, design thinking, science, smart technologies and user culture for the participatory re-design of urbanity. The project has a budget of 2 million Euros and is funded by the European Commission within the Creative Europe programme for 3.5 years. 11 creative experiments in participatory art and design for the city of the future: The 12 project partners implement 11 experimental sub-projects and a European study about new forms of participation. While some PS2 sub-projects shed light on the ways we perceive our city space, or create speculative city environments, others will analyse problems, identify challenges and explore interdisciplinary solutions with citizens. The variety of approaches will reflect the diversity of people, skills, urban art, social processes and urban development. Renowned artists and designers from 29 countries will participate in the sub-projects. PS2 will explore and document new strategies for involving digital media and ICT in the development of user-centred culture. Development of new forms of participation for Smart Cities: Scientists from media-labs, computer science, cultural science, art history, sociology, architecture, design and urban planning will engage with the creative processes. Digital technologies will not only play an important role in the PS2 project art activities themselves, but directly support the innovation process by offering new opportunities for empowerment and societal integration of people of all social groups. The project will connect people and foster the exchange of ideas about and for smart cities. It is the base for cutting-edge communication between science and art, creatives, artists, media designers and citizens, and between the people and their governments. At the same time it will motivate the broad dissemination of new skills, design expertise and social knowledge relevant to urban re-design. Citizen participation in urban development and re-design has a long cultural tradition in Europe. But the rising complexity out of social issues, critical and creative ideas, green development, and at the same time a high level of demands towards a post-modernistic cultural evolution evoke the need of improved cooperation between all stakeholders in town: governmental entities, creative, and social cultural activists, experts and citizens. The participation processes needed for future activities in the field of urban-social sustainability requires an enhanced approach to citizen participation and user-friendly creative articulation. It is required to access the full potential of the new capabilities of communication, networking, social media, creativity, microcomputers, and new e-skills through the design of new participation methodologies. Art and media art prototype the next step concepts and methodologies for participation. This paper describes concepts and approaches of participation and reflects on participative art within examples of 6 PS2 sub-projects.

Ref 2016/06

Ideal spaces: digital-cultural ecology and the medium-sized city

In: Digital-cultural ecology and the medium-sized city / [ed] S. Sparke & G. Cairns, 2016, p. 5-Conference paper (Refereed)

Abstract

In our working group Ideal Spaces we are concerned with mediated worlds: especially the one of ideal worlds reconstructed, mainly concentrating on a classical topic of a “mediated” city through history, namely that of a utopian ideal city. How these utopian places have to be conceived as being ‘ideal’ ones. How this has been mediated, in terms of their modes of presentation, but also in those of the ideas underlying them as regards the different audiences that were thought to be addressed by them?

These historical conceptions of what an ‘ideal world’ should, or could be is a classical topic of our cultural sphere, and focuses upon one perspective of relevance, that of an ideal city. The latest since the onset of what has been called ‘modernity’, now providing the actual background of the actually built cities we all live in, as our environment of relevance.

Such conceptions of ‘ideal’ relevant worlds can be compared, as a background folio, with the approaches towards an ‘ideal’ environment as they become evident in the concept of The City of Abadyl. That in itself is a proposed city, a fantasy, a set of codes and models, a library of artefacts and prototypes, and foremost, it is its co-creators. Since its inception in 1999 it has grown into a large database of materials interlinked through the shape of a city, regardless of their respective incompatibilities. Support and create a gestalt for inquiry

Our approach is to create an environment which facilitates artistic work practice in complex production environments such as those of digital media, supporting invited artists, researchers, companies, and students. We establish a ready-made, fictitious gravity that others can easily transfer their knowledge into. So How do we go about exploring this complex digital space? We could let people walk the streets of Abadyl in for example a game engine, but we have so far chosen to go in another direction. We have used the framework of Abadyl to stage different events in the form of written scenarios that provide detailed and specific background material. Our scenarios try to bring aspects of field study and fantasy together, to slowly create a discrete dynamic tension or displacement between persons, objects, time, places, and events that are not usually, if ever, associated into new and surprising conjunctions. Through this work we have developed several methods of worldmaking. The aspect of imagery is of particular importance here since comparisons can be made between traditional conceptions of pre-planned ideal worlds – e.g., the ideal of a functionalist city, of a typically ‘modern’ one, etc. – and imageries that evolve de novo and unplanned, as it is tried in the case of Abadyl.

Moreover, such comparisons inform about a further aspect of imagery and hence, of being mediated. We have to take the notion of the ideal in both its connotations as a mental or inner image on the one hand (from the Greek eidos, or idea); and on the other, as a perfect state to be achieved and longed for (the ideal in its common terms of understanding). If we do so, then it becomes evident that even seemingly ‘new’ and ‘spontaneous’ outcomes like those in Abadyl are informed by mental or ‘inner’ images deeply rooted in what is called a cultural memory, that is, rest on a culture-specific substratum. And it is very interesting to see how these both layers of imagery, the “new” and the “old” one, are influencing each other in mutual terms. Which is a very important topic of mediated cities today since the assumption is that what is happening in Abadyl is also happening here.

Ref 2017/04

Gestaltande examinationsformer

Högskolepedagogisk debatt, ISSN 2000-9216, no 2, p. 45-53Article in journal (Other (popular science, discussion, etc.))

Ref 2017/05

Ideal spaces exhibition 

Michael johansson & Ulrich Gehmann ArtsIt2017, Konferansepaper

Abstract

Through the years we have worked with  the idea of gestalt through artefact creation (including virtual objects and 3D-worlds) as one surface to explore, exploit, test and communicate our ideas and concepts, that are generative rather than produced, where we try  to grasp systematic insights through complex generated realities, in which an audience later is invited to interact.  In our Ideal spaces exhibition for the 2016 Biennale in Venice, we tried to explore this via a combination of presenting ideal city spaces, active participation of the visitors molding their own spaces, and symbolic representation. Ideal Spaces is also a high-tech project that uses diverse technologies in new ways, also new techniques and programming developed by us. In this paper, we show the theoretical and cultural background, and some lessons learned, regarding on what level of abstraction a visitor could interact with our exhibition to better understand how visitors created their own ideal spaces.

Ref 2017/06

Interactivity, Game Creation, Design, Learning, and Innovation

6th International Conference, ArtsIT 2017, and Second International Conference, DLI 2017, Heraklion, Crete, Greece, October 30–31, 2017, Proceedings

Editors: Brooks, Anthony L., Brooks, Eva, Vidakis, Nikolas (Eds.)

About this Book

This book constitutes the proceedings of two conferences: The 6th International Conference on ArtsIT, Interactivity and Game Creation (ArtsIT 2017) and the Second International Conference on Design, Learning and Innovation (DLI 2017). The event was hosted  in Heraklion, Crete, Greece, in October 2017 and attracted 65 submissions from which 50 full papers were selected for publication in this book. The papers represent a forum for the dissemination of cutting-edge research results in the area of arts, design and technology, including open related topics like interactivity and game creation.

Ref 2018/03

Soundscaping

Enhancing art, culture, and design with technological integration / [ed] Mehdi Khosrow-Pour, Hershey, Pennsylvania 17033-1240, USA: IGI Global , 2018, p. 169-182Chapter in book (Other academic)

Abstract

In this chapter, the author presents how he developed different processes for collectively producing a series explorative soundscapes through interface creation and mechanical artifacts using specific constraints influenced by theories of art, design, and architecture. He shows how he worked with a design methodology that brought together an editor and the final expression of the artwork into one surface of interaction and execution using a virtual cityscape as an iterative ground for sound and music explorations, and gives some examples of different prototypes and iterations. The author also discusses how he tweaked/iterated with the parameters of the framework, the sounds, and the final visual expression to match his artistic intention, and finally to bring some noise.

Ref 2018/04

‘Wanderlost’: a participatory art and design endeavor

Mediterranean cities and island communities: smart, sustainable, inclusive and resilient / [ed] Anastasia Stratigea & Dimitris Kavroudakis, Cham: Springer, 2018, p. 135-160Chapter in book (Other academic)

Abstract

‘Wanderlost’ addresses the growing complexity of life in today’s city spaces and the imminent challenges to the development of the urban environment. It delineates experiences gained from a project’s work, which incorporated workshops, artists’ collaborations, interactive participatory setups in public, theatre and performance spaces. It is a result of two public workshops in the end of the four-year-long period in the People Smart Sculpture (PS2) framework in the cities of Kristianstad and Copenhagen, with public events in April/May 2017 and October 2017. In this article we discuss how the project was prepared, set-up and implemented. We call this storyworld ‘Wanderlost’, developed from the project CubeX “The Journey to Abadyl”. We describe this work in the sections Collaboration, Research and Methods to show how we draw knowledge, methods and research from our work in the collaborative network PRAMnet in developing participatory concepts using a virtual city, the city of Abadyl as a backdrop. We put forward our models for engaging participation in a storyworld to imagine the world and our relations anew. We conclude that the ‘Wanderlost’ concept and project can be reused and re-situated in other contexts and environments; keeping the fundamental three formats with a digitally mediated tool, physical guides and explorative walks and a map of amusing and provoking artworks as a matrix.

2018

Worldmaking: designing for audience participation, immersion and interaction in virtual and real spaces

Interactivity, game creation, design, learning, and innovation / [ed] Anthony L. Brooks & Eva Brooks & Cristina Sylla, Cham: Springer, 2018.

Chapter in book (Other academic)

Abstract.

Artists often try to open up new experiences for people, challenging them to extend horizons and perception. This becomes particularly relevant when thinking about experiencing built environments:

Here, technologies like Cave Automatic Virtual Environments (CAVE) or Head-Mounted Displays (HMD) can be used as a tool to offer richer experiences to the audience in both art installations and exhibitions.

We have been developing several exhibitions tackling the challenges that come with exhibiting in (semi -) public spaces: how do we engage visitors in our exhibitions, what role do bystanders play and how can this be considered in the development and design process? The exhibitions were built in a chronological order (2015-2018) and increasing degree of immersion and interaction. For exhibition one (“step-in/Ideal Spaces”), we built a CAVE-like “tryptic” projection showing linear pre-rendered videos of seven different built environments. In exhibition two (“fly-over/Super Nubibus”) we build a replica of a hot-air-balloon and let people experience architecture from birds eye view using a HMD. Exhibition three (“cruise/Biketopia”) is also an immersive VR using a HMD, but from a very different angle. Here we use a bike to let people actively explore a space by regulating speed and direction of the bike. By using the discrete method of observation, we ensured that the visitors were not disturbed in their experience, which in turn would falsify our findings. So we are able to compare and discuss these three approaches in regards to the above mentioned criteria within this paper.

2018

The people’s smart sculpture PS2: best practice study 2014-2018

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