Social Interaction through installations
outside the white cubes
Social Interaction through installations
outside the white cubes
2016
Kรถln International School of Design Thesis proposal
Author Mariana Lourenรงo Supervisor Prof. Andreas Muxel
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index
Introduction
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Questions
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Literature review
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Goals 38 Relevance
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Bibliography
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introduction
The object of this study is the space as a medium and also the message in exhibitions, where it intersects art installations and scenography. As a medium, it appropriates itself of some chosen sensorial symbols of the design language, time and space with clear previous message’s intentions. Exhibitive spaces have been successfully immersed people in historical explorations, science learning, political views, or also marketing and branding of products. As a strategy to involve the visitors, different types and levels of interaction are indispensable, reason why the user-experience is nowadays the focus for most of the designers dealing directly with technologies. Technologies are medium that extend human external bodies capabilities, or even in inner consciousness level.
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However, since medium are messages that have its own language which intermediate communication processes, the excessive use of these extensions offer the danger to over intermediate people’s relations. In that sense, instead of helping to build collective global consciousness it amputate human’s capacity to relating with each other. When observing current exhibitions, the lack of an articulation towards the creation of a deeper meaning and social articulation of the visitor experience is a gap for design questions. All sorts of interactive technologies are being applied in museums and galleries. Indeed, there are thousands of tacit social possibilities behind the cultural meeting there, but how does exhibition mediate and merge experience, representation and behavior changes? Can we use it to favor social relations instead of mediate it?
Creative industry is full of consumerism, and the social interactions in these spaces can be easily lost in the cultural industry. More important than innovative technologies development to amuse people is how it can contribute to a social innovation. Including the people in the process, that is, co-create locally with the community not only as Museums have been doing online with the content but also the medium. This way, the knowledge is not only learned but co-developed through a process of empowerment from doing, as the example of the Living Labs spaces. A practical unfolding of it will be the investigation of strategies into experimental practical projects that play with this threshold, and analyze what could be efficiently applied to friendly hack local communities. In order to explore possible social transformation
possibilities in the exhibition spaces, it will be given attention to the spatial influence in the human’s interactions for long-term network building. It is relevant for creating more sharing and co-creative social spaces in the contemporary society to break the differences through empathy, and to build up the collective behavior. All in all, more relational environments are demanded to evolve towards further participatory social spaces. There is a social catalyst’s potency in the encounters performance, thus this work will guide to a better understanding about how the perception of boundaries with the others is affected by these immersive and performative spaces.
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questions
Physical social spaces are important for meetings where new connections in the society’s web can take place and be strengthened. For this reason it should be designed to arise critical thinking and foster discussions for new models of social interactions in order to outperform the exhibition environment into a deeper longterm meaning for the social encounters. to answer the questions:
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HOW CAN THE DESCONSTRUCTION OF THE “WHITE CUBE” AMPLIFY ITS SOCIAL CATHALIZER ASPECT?
WHAT DESIGN STRATEGIES FOR INSTALLATIONS CAN FOSTER THE INTERCULTURAL DIALOG OF A COMMUNITY?
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literature review
The medium is the message
As Marshall McLuhan (1964) quote “The medium is the message”, the exhibition design as medium is relevant as tool to transform, and even subvert the message. Architectural elements, visual communication, scenography are elements transform the visitor’s experience towards specific aims. As a consequence, it has a clear potential as a medium for messages, as well as for social exchanges to happen. For McLuhan (1964) there is a direct causal correlation between thoughts – nonverbal – and its language medium, like the contents of a speech or an image. Thus, the existing nonverbal processes happening in the society are completely defined by the media through it is communicated. “An abstract painting represents direct manifestation of creative thought processes as they might appear in computer designs. What we
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are considering here, however, are the psychic and social consequences of the designs or patterns as they amplify or accelerate existing processes.” Certainly exhibitions has been an important social space as a media for communicating objects, cultures, politics, etc. “(...) the ways in which art is talked about, understood and debated are largely determined through the medium of exhibitions - through the exhibition as a complex representation of institutional, social and, paradoxically, often personal values, simultaneously. And the exhibition’s representivity then is an exemplary identification of the direct political tendencies (democratic, nationalistic, feminist, regionalist, postcolonial or whatever) on offer.” (A. Laurence, 1996).
Outperforming the White Cube
Certainly the situation provoked by the environmental design has a lot to do with this process. However, through the modern history of exhibitions, there was an attempt to create a utopic neutral container that provides a unidirectional and message power exclusively to the special exhibited object. Even though galleries and museums spaces based on the ideal white cube are still a model, it is undeniable that the environment itself is an aesthetic object that influences and provides context the objects exhibited.
of this art closed system of values, all objects placed in this context become an art piece. According to him, it is placed almost like the sanctity in a medieval church built along rigorous laws. In this space devoted to the technology of the aesthetic, “art exists in a kind of eternity of display (…) there is no time”.
Brian O’Doherty (1976) developed the idea “as modernism gets older, context becomes content”, about the real influence of those almost empty spaces in the displayed objects meanings. In series of articles in Artforum, he mentioned that the history of the modernism was framed by an archetypical image of an ideal neutral space. As a consequence
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Img. 1 // Photo: [http://abstractcritical. com/wp-content/uploads/2014/01/ PUMHint1_1.jpg].
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This “holy” environment for an exhibited content resonates in an estrangement of people that are not familiar with that microcosm, which means exclusion. It implies in a certain way elitism of culture and art that doesn’t fit in the context of a globalized world hopefully intending to be inclusive. Centralized and hierarchical relations has been increasingly being substituted to collaborative and networked structured relationships and is an important a relevant topic for the design of relational apparatus discussion.
Relational aesthetics
“Obsession with the older patterns of mechanical, one-way expansion from centers to margins is no longer relevant to our electric world. Electricity does not centralize, but decentralizes. It is like the difference between a railway system and an electric grid system: the one requires rail-heads and big urban centers. Electric power, equally available in the farmhouse
A couple of decades ago, this aspect have started to receive attention through the relational aesthetic. Influential installations artists have been diving into this paradigm to discuss the importance to develop spaces that are conducive for social interaction, engaging with specific social circumstances to make a critical intervention with participatory strategies.
and the Executive Suite, permits any place to be a center, and does not require large aggregations.” (McLuhan, 1964) Therefore, a more horizontal relationship with visitors is a first demand to create spaces conducive for learning not only from the content displayed, but also from the exchanges with other visitors, hosting institution and the artist or designer, fostered by the environment.
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Img. 2 // Giant Billiard, New York Museum of Contemporary Crafts by Haus-Rucker Photo: [http://craftcouncil.org/post/ten-greatmoments-mcc-history].
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Haus-Rucker were already breaking the rule of “Do not touch art” in 1970. He claimed participation in art with the Giant Billiard, New York Museum of Contemporary Crafts (1970), where he invited people to play giant balls together over a giant ludic installation. Going further in this direction, active participation was claimed by Lygia Clark as essential for a relational object. In the artwork “Rede de elasticos” (Elastic band), 1974, the participants are claimed as essential for an art piece. People gather in a circle and connect, knit and interlink elastic bands, negotiating the stretching, compressing, expansion of the networked structure textile built by body gestures. They are able to define a new space; therefore the uncertainty of the installation is either for the author or for them an open multisensorial environment resultant of people’s encounters and different forms of communication.
In a time where art would be better contemplated hung on a wall, Lygia Clark along with other Brazilian artistits like Lygia Pape and Hélio Oiticica included participation as part of the Neoconcretism art manifest. In their works, viewers of the work became part of the explanation of it through the participation, awaking their power of action and change.
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Img. 3 // Rede de Elรกsticos, Lygia Clark. Photo: [http://www.exploration-architecture. com/projects/the-mobius-project].
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Participatory ART agenda
Claire Bishop (2006) defended that participatory art ideas still meets many points nowadays. “Despite this changing context, we can nevertheless draw attention to continuities between the participatory impulse of the 1960s and today. Recurrently, calls for an art of participation tend to be allied to one or all of the following agendas.” Firstly, it concerns to an active subject, “one who will be empowered by the experience of physical or symbolic participation. (…) An aesthetic of participation therefore derives legitimacy from a (desired) causal relationship between the experience of a work of art and individual/collective agency.”(BIishop, 2006) This way, audience is able to shape their own social and political reality through that participation.
As regards to an active participation in art, Nicolas Bourriaud, founder of Palais de Tokyo in Paris, wrote about the Relational Aesthetics (1998) as a theory of form considering that the exchanges between people in the gallery or museum space became a raw matter for an artistic work. He defined it as “a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space”. This art concept can be taken as a set of tools for a design measured by the level of exchanges between the visitors. Secondly, the Bishop’s agenda for the participatory art concern to the authorship. “The gesture of ceding some or all authorial control is conventionally regarded as more egalitarian and democratic than the creation of a
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work by a single artist, while shared production is also seen to entail the aesthetic benefits of greater risk and unpredictability. Collaborative creativity is therefore understood both to emerge from, and to produce, a more positive and non-hierarchical social model.” The idea of the emergence, at the same time as building a bottom-up social model, have been receiving increasingly notoriety by the design through the concepts of co-design. Further following in the third and last participatory art agenda, Bishop’s argument about a perceived crisis in community and collective responsibility. “This concern has become more acute since the fall of Communism, although it takes its lead from a tradition of Marxist thought that indicts the alienating and isolating effects of capitalism. One of the main impetuses behind participatory
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art has therefore been a restoration of the social bond through a collective elaboration of meaning.” Thus, the medium through which art is presented should also serve to create empathy between the visitors towards collective interests of the community. Co-design
For this investigation, the idea of codesign will be borrowed from other design’s subject researches like anthropology design, open design and service design, which has recently given a lot of attention to that. It implies to design in collaboration with the community, being the designer not an imposer of a concept but a facilitator in the process of a collective and democratic creativity. Mads Hobye (in Ehn, P.; Nilsson, E. M; Topgaard, R., 2014), co-founder and core member of Illutron defended
that “Through making, people become participants rather than merely spectators or consumers. Further, you want to be recognized for what you do, not by being the first in the world to make something, but by sharing your skills and work in a community of interesting and interested peers. peers. By sharing and making a mark, you become alive, connected and find a shared purpose (…)”. The credibility of his assumption comes from the success of Illutron to enable a collaborative community of artistics, designers, performmers, electricians, musicans exploring digital materials to be in interactive art installations, galleries and events. An emerging concept related to codesigned called Living Lab originally from Prof. Willian Mitchell, MediaLab and School of Architecture and city
planning, MIT, Boston, is a good example of it based on user-centric research methodologies. In the “Living Lab the neighborhood” one important factor for the success is the long-term perspective. “Thanks to this long-term perspective, we have been able to build trust between diverse stakeholders, support mutual learning and dared to pick “tough” cases (i.e., cases that do not fit into existing structures and where you might end up without an immediate success story).” (Emilson, A.; Hillgren, P-A.; Seravalli, A.; in Ehn, P.; Nilsson, E. M; Topgaard, R., 2016) The idea of it is to friendly hack communities, so that can progressively cause transformation in the system surrounded by it by their own collective attitude. The collective awareness power is a central long-term goal in order to achieve an effective exhibition as social transformer.
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SOURCES
http://livinglab.org/sites/livinglab.org/files/docs/documents/Adopters_Jan2016.pdf http://livinglab.org/sites/livinglab.org/files/docs/Getting-Started/NLL-Info-Sheet-2015.pdf [03] http://www.bu.edu/cdl/files/2013/08/blake_harris_2009.pdf [04] http://vallottonresearch.hdfs.msu.edu/wp-content/uploads/2011/06/Puzzle-Study-Poster-PDFfor-printing.pdf [01] [02]
Science Research as a public community interest
Enclose the audience in the intended research and transform the public interest in latent goals of the space are a relevant strategy of the space re-signification. A way to approach it is attach activities to the space, which public institutions like Museums have been explored. It can be illustrated through the National Living Lab Initiative from the American National Science Foundation, USA. The Living Laboratory Lab model had run interesting scientific investigations through the learning and participation of children and is active in 30 institutions in USA. [01] “By observing and contributing to cognitive research studies, visitors learn how scientists answer research questions in a variety of topics, including social reasoning, math cognition, spatial reasoning, causal learning, and emotion recognition.� [02]
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Since 2005, the given initiative in the Museum of Science in Boston is trying to favor their environment for immersing the museum’s visitors in science discoveries focusing in children. Labeled Living Laboratory® for Research in Cognitive Development, they merge science researches with the visitor’s participation, getting scientific experiments answers for questions like “How does parental help change children’s approach to problem solving?” along with Harvard Graduate School of Education [03] or “What do children understand about ownership?” in collaboration with the Social Development & Learning Lab [04]. In the last one, “the experimenter told two stories using dolls and small toys as properties. For each story, either two male or two female dolls were used; all dolls were generic and easily differentiated by hair color and clothes. Four toys were used:
a kitten, a horse, a school bus, and a plane (…) after each story was read, a fact check question was asked: “At the beginning of the story whose toy was this?”” (Blake, P. R. & Harris, P. L., 2009). This collaboration resulted in the direct benefits of a fun activity for kids and for caregivers to learn about children’s learning and also regarding the process of science. Even though this type of research doesn’t come up with instant actions and changes, it demonstrates that is possible to integrate Museum learning activities with researches, and consequently lead the children’s interactions there towards deeper questions answers. The intention’s dimensions of this space use were reframed and transformed the usual context of an exhibition’s visit.
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Social objects
Exhibition as social event
These models of participatory environment design can also be borrowed from initiatives like co-working spaces and co-creative city projects in urban spaces. Some studies of urbanism that addresses social spaces, like the triangulation from Willian H. Whyte (1980), demonstrate the influence of a third element of reference in the social behavior between two people in the space, to create a sharing situation.
Exhibitions became a place that can facilitate encounters and work as a social network space. Many examples of relational arts and participatory design are based in events. Indeed, social interaction is intrinsically related to the events like workshops, parties, dinners. Vernissages are enormous successful in attract social activity.
With regards to that, elements of the exhibition should be designed to be social objects. It is the role of the designer to think about the material environment as referential point to trigger conversations and discussions. “If visitors don’t feel comfortable and in control of their environment, they are unlikely to talk with a stranger under any circumstances.” (Simon, N. 2010)
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Many of the installations mentioned by Bourriaud (1998) related to the relational aesthetics were related to events: “A metal gondola encloses a gas ring that is lit, keeping a large bowl of water on the boil. Camping gears is scattered around the gondola in no particular order. Stacked against the wall are cardboard boxes, most of them open, containing dehydrated Chinese soups which visitors are
[05]
See Performance in video. Available HTTP: https://vimeo.com/40993296 Accessed in 25/02/2016.
free to add the boiling water to and eat. This piece, by Rirkrit Tiravanija, produced for the Aperto 93 at the Venice Biennial, remains around the edge of any definition: is it a sculpture? an installation? a performance? an example of social activism?”
In “ACTING THINGS I” [05] it is possible to illustrate the idea of an event as strategy. The artist and designer Judith Seng used the performance of visitors as a raw matter for creative collective results by attracting then with a type of social event. That is to say that she took advantage of the familiar gathering moment of eating, by offering a meal and some woods for people of different ages to collaboratively design and build their meal environment. The series “ACTING THINGS” had the starting point in the observation of the traditional dance from south of Germany called “Bandtltanz”, which a woven structure is collective created by the dancers through choreography. The interesting point here is to be able to transform a collective dance or performance from people in a process for a design installation.
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Img. 4 // 5// 6 // ACTING THINGS I by Judith Seng.
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Img. 7 // 08 // 09// ACTING THINGS IV by Judith Seng.
This traditional dance influence can be clearly recognized in the temporary installation ACTING THINGS VI – Connections [06], where bobbins were replaced by 24 people through a dance that forms a lace. The complex handmade process of knotting the threads is a so-called oldfashioned technique which only talented and experienced people are able to perform. Through that installation, the visitors is able to collective create the lace at the same time of learning the complex process
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[06]
See Performance in video. Available HTTP: https://vimeo.com/99918893 Accessed in 25/02/2016.
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Critics about social events
Although events bring social interaction to spaces, one should be attentive to the different contexts in which that are placed in order to bring a real meaning. In other words, the strategies to create a social environment have to be critically analyzed through a research field of the local context. Different historical, habits and the cultural dimension about the experience with exhibitive spaces can explain whether it makes sense or not. This type of incompatibility of the medium and the audience was described by McLuhan (1914) when he elaborated the concepts of the hot medium, which is low in audience participation, high definition extension of single senses, detribalizes, excludes; in opposition to the cool medium - low definition, participation of audience, tribalizes, includes. “The hot radio medium used in cool or nonliterate cultures has a violent effect, quite unlike
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its effect, say in England or America, where radio is felt as entertainment. A cool or low literacy culture cannot accept hot media like movies or radio as entertainment. They are, at least, as radically upsetting for them as the cool TV medium has proved to be for our high literacy world.� (McLuhan, 1964) One concern about the medium is that it can be interpreted as a source of readymade thoughts. When technology as a medium started to run a cyclical process of over intermediate people’s relationships, the idea of supporting human being was messed until the point that people accommodate with this intermediator and stop evolving its own. This brings on a narcotic relationship with medium, which sold after the industrialization the idea of a high technological intermediated world in detriment of qualitative social relations.
“We cannot stop tech, and there is no reason why we should. It is useful. But we need to change the innovation agenda in such a way that people come before tech. It will be an ongoing struggle, of course. From nineteenth century mill owners to twentieth century dot-commers, businesspeople have looked for ways to remove people from production, using technology and automation to do so. A lot of organization will continue on this path, but they are behind the times.” (Thackara, J., 2005) It is a crucial point to investigate the exhibitions is positioned in this scenario. Exhibition as an entertainment can easily fall into the trap of the creative industry’s consumerism, and the social interactions in these spaces can be easily lost in the cultural industry. More important than innovative technologies development to amuse people is how it can contribute to a social innovation.
To give a more tangible example, in countries with the characteristic of high social differences like Brazil, the access to cultural spaces is very limited to certain social class groups, either regarding financial access or cultural and educational references motivations. Even though the country is positioned in the world between the highest numbers of museum’s visitors, they aren’t that prominent considering the distribution between relative amounts of people, especially in poor regions like the North. This is related to the “elitization” factor of those art spaces, which doesn’t favor easy access to that. As a matter of fact, what Mcluhan (1964) wrote that the mediums transformations introduce new habits of perception could be interpreted that people needs to be familiar with exhibitions as a media language to be capable to absorb the message. In this
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Img. 10 // Mona Lisa at the Louvre, the busiest art museum of the world. Photo: http:// thechronicleherald.ca/travel/1228256masterworks-suffering-from-the-masses
Is undeniable that the learning experience has severely changed by the digital tools. Through a more interactive and collaborative process, new methods of education is progressively being adopted. Indeed, the availability of many sources and ways to absorb information has enriched our relationship with the knowledge. However the new generations find themselves progressively more drowned in the sea of information, many qualitative methods for catching the attention of the new multi-focused and multi-sensorial audience have taken place.
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context the social events based exhibitions are relevant to bring new types of communities to this new environment, in order to develop those new habits of cultural experience and perception.
in more than a place to make friends, but to foster changes in the society. As an argument against the difficulties to measure those changes, this project will be fruitful to design long-term effects.
On the other hand, in region with high access to culture as Germany for example, there is less need to present this type of media through social events. As a matter of fact, those activities are so popular that they turn out to be strongly related to a consumerism of culture.
For this reason, this work is intended to focus in the environmental settings of temporary exhibition and observation of what people socially perform as a potential teaser of discussions based in the three participatory concerns mentioned before by Bishop (2006): activation, authorship and community.
In other words, there is no demand to provide exhibition access inviting people to social events, but actually to transform and strengthen the meaning of those spaces through new forms of experiencing it. In conclusion, more than an event or party social importance, it is a hidden factor of social transformation. It is a large challenge to transform the social spaces
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research methods
In order to answer the given question, this work aim to borrow this relational art theory as a set of tools for designers to arise affection through spaces. Through analysis of the types and levels of interaction in different cultural contexts, projects strategies reflections along the 20th and 21th century will be done. Relevant exhibitions installations in museums and collaborative spaces will be selected according to how they succeeded in visitor’s participation, co-creation and sharing facilitation. The range of resources will be between books, internet research, and field investigation. For the field investigation, considerations will be done through different cultural contexts to enrich the level of discussion. As a human research, there isn’t a universal answer and that will be reinforced by the context of different communication styles.
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Asian countries tends to prevail in highercontexts messages, which means a tendency of less words needed to be said, letting the culture explain and easiness to build new relationships, according to the anthropologist Edward T. Hall (1976). In the other hand, countries like Germany tend to use lower-context messages, so the communication needs to be more explicit and direct, as well as it tends to rely on a close small group of people. For this reason, exhibitions in Germany and China will be visited and observed regarding how the space influenced their behavior. The reflection will be made around the questions:
What kind of exhibition is that?
What is the role difference of the designer and the curator on that?
Which level and type of social participation happens?
What are the main critics about the encounters fostered by the project?
How this exhibition became a more relevant social catalyzer than a regular social space?
How affected is the visitor by the design choices?
What factor of the local culture influenced the behavior between people?
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When there is the possibility, simple interviews with visitors, designer and staff will help to support those reflections. Furthermore, data regarding amount of visitors, its profiles and frequencies of visits will provide a more complete overview to have insights from comparisons. After reflecting about possible answers, one experimental installation for temporary exhibitions will be designed in order to prototype and apply that strategies. It is relevant to be mentioned that this project doesn’t intend to display art or historical pieces. It won’t be a regular linear process, when the designer in a first moment plans the space configuration as a display, and people interact with it in a second moment. In opposition to that, it will be a constant process of co-creation, where the main results are the collaboration between visitors, designer and local space.
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One important attention should be given to the regulation of that performative space, which means that the ecosystem of it should favor the continuity of the process until the intended end of the temporary installation. Even though the designer has to provide its exact intention and situation through the space and facilitate the process, whether by training with the actuators or an automatic regulator system, it has to be autonomously run. Moreover, an important parameter involves a situation in the environment that provides not only a social interaction itself, but may end up in a discussion of the topic and to share opinions, histories and knowledge. Equally important will be evaluated the opportunities given to share that experience in other moments and contexts, amplifying the impact by reaching other people that wasn’t there.
It should transform the previous idealistic “white cubes” in social catalyzer spaces. As cultural space part of the urban scenario, it needs improve how those people feel pertained to that place and their role in the creation of that community. Considering that the community impact is a long-term outcome, it is acknowledged the limitations to prove large future implications. To handle this measurement difficulty, the research has to be guided by clear questions related to future transformations. For this reason, the combination of a created situation with an environmental design with a facilitation to guide people’s social perform will be the basis to find worthwhile solutions. It will allow visitors to play with it, in such a way that it would be able to know each other and establish new types of relations based on sharing experiences.
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goals
Different explorations of the spaces more than white cubes
Observe people’s direct answer when faced by designed intended situations
Experiment installations that plays social relation to understand its different layers
Use the exhibitive spaces to serve public interests into social innovation
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relevance
Most of the relational spaces have interesting interactive approaches, but they don’t take further actions of a social interaction into account. Through the research of those successful interactive spaces that creates a triangulation between the material objects and people, it will be possible to find strategies to be applied into a more deep and specific local community discussion. With no doubt, participation in the community can help to solve many local problems. Apart from that, it is an opportunity to imagine future better scenarios and identify the changes
needed to achieve it. The exhibition is a medium to design messages that trigger a critical view about the human’s transformation and relation with the ecosystem. As a consequence, this temporary experience can reverberate and amplify to social changes through people’s interaction and local engagement. In conclusion, the set of articulations of intention and space strategies insights resulted from the observation of the people can help further projects to think about the space elements as the trigger of social changes.
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