ParticipART is an initiative aimed at exploring participation in interactive works using ubiquitous computing and mixed reality. It supports and analyses work of artists and creative practitioners incorporating or reflecting on participatory processes to support new roles and forms of engagement for art participants. We aim at proposing a space for discussion that can enliven and enrich the dialogue between human-computer interaction and the creative practices. We present several works that have been exhibited and experienced. The works are used to reflect on the different participative strategies and the role of interaction technologies: enabling authorship, affording connectivity, interacting with artificial beings, reinterpreting the visitor world, and engaging in performative acts. KEYWORDS:Participation, interactive art, performative interaction.INDEX TERMS: H5.m. Information interfaces and presentation (e.g., HCI): Miscellaneous. INTRODUCTIONWhile human-computer interaction has among other things reflected on the role of users and systems and on the application of interface technologies, Participatory Design has traditionally focused on the design and development of computing and information technologies with the active engagement of the people who use or are affected by these systems. An interesting analogy can be conceived where human-computer interaction HCI and Participatory Design PD talk about the designer and user dichotomy to the situation in art works between users and artists. Over the years, the efforts of artists, musicians, architects and designers working across a wide range of disciplines have contributed to invigorate the discussion on the design boundaries of such engagement, and in recent years HCI and the PD fields have actively sought submissions from artists and designers that exemplify the principles of participatory design. ParticipArt [4][6][5][25] is a series of initiatives such as exhibitions, installations and research that takes inspiration from artists and creative practitioners who incorporate ubiquitous computing and mixed reality to stage participatory processes that can expand the boundaries of audience engagement in either experiencing or engendering the work. The work presented in this paper was curated as part of PDC 2006 in Trento, Italy, and exhibited in the Contemporary and Modern Art Museum in Rovereto.Artistic work based on emergent media and technologies is a particularly fertile domain for the development of tools and environments that both supplement creative practices and contribute valuable research and design methodologies for other disciplines [7]. By promoting divergent thinking and creative visions, new media art practices offer a platform that emphasizes creative engagement as a locus for innovative design and evaluation methods [8], thus encouraging fresh and critical perspectives [9].Our objectives in this paper can be summarized as follows: (1) explore novel relationships and multiple participatory processes enabled by emergent media and interaction tech...
In this paper, we present the history, the concept and the results of "Attempts, Failures, Trials and Errors" exhibition project which was first presented in the frame of Piksel Festival in Bergen, Norway (November 2017) and later on at "Salonul de Proiecte", Bucharest, Romania (February 2018). The project aimed to incite the e-textiles artists and designers to reflect upon the way they are engaging with their failures, as well as to the way in which they use these failures to better understand the context in which they are working and to continue to experiment. Our approach reverses the common R&D constructivist methods, by using deconstruction as a process of investigation in the field of wearable technologies and e-textiles. By questioning the ideas and the concepts of failure and success, the project puts an emphasis on art's capacity to be critical, while at the same time to poetically and self-ironically address contemporary challenges and concerns.
I n this article we discuss unique free software-based digital infrastructures and networks that were developed in Brazilian communities, presenting situated models of resistance. We will discuss the background of the networks and characterize their practice and infrastructure, that are largely under-studied. The analysis we pursue highlights the importance of minorized decentralized technological practices that convey integral organizational models opposing capitalist hegemony. In order to describe the intersection of these alternatives in the Brazilian context, we will mobilize a feminist epistemology which considers necessary principles of “intra-action” (Barad 2007) across heterogeneous sociotechnical spaces. We will describe how different projects intersect, among them: Baobáxia, “a rota os Baobas” an eventually connected network, that can exist both on the larger internet and disconected from it, as a local local network, which nodes are located in quilombolas communities; “Metareciclagem”a collective of Brazilian technologists promoting the “up-cycling” of discarded computing technologies and their usage for artistic expression through “Gambiarra” (“makeshift”) re-appropriations; and another political articulation of the reflection about the appropriation of digital technologies that has given rise to an international network and practices which are identified by activists and artists as “Technoshamanism.” The role and place of digital activism in the Brazilian context is uniquely tied to specific needs of the communities at a moment in time. This led to unique examples of construction of what we have called “singular technologies”, we mean: "intentional and contextual technologies, developed specifically by a community to respond to their specific context." In Brazil, they emerge from a decolonial position and cultural narrative re-appropriation, supported by a benevolent policy. This brings us in the conclusion to qualify the construction of singular technologies that stem from the need to characterize daily practice by citizen groups that deploy their successful institutional arrangements and affordances under the radar and outside the competency of traditional institutions. These concepts do not try to define any tangible essence, but rather articulate social dynamics of the studied groups. We will qualify these social dynamics as the unique relation that technological processes emerge from.
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