Page 64 - Studia Universitatis Hereditati, vol. 3(2) (2015). Koper: Založba Univerze na Primorskem/University of Primorska Press.
P. 64
ularly map, interfaces otherwise try to mimic of Iceland that suffered a volcano eruption we
in a kind skeuomorphism of interaction, the pre- choose to use again physical metaphors but here
tention of physicality. Physical pucks were cho- ones where the users act as first responders and
sen as the interactive elements for the table top excavators, using the camera to search in houses
rather than a touch screen interface, with to re- too dangerous to enter, pushing together the ru-
tain the physical, tangible aesthetic and to so to ined houses to see them in their original condi-
speak, to outsource complexity to the physical tion and fittingly an interactive sandbox where
world. Two pucks can for example not be at the visitors dig in actual sand from volcano ash to re-
sample place at the same time thus the social in- veal digital content about the things hidden un-
teraction of people solves any potential problem der the lava in this Pompeii Of the North.6
of two people competing for the same content. A
similar solution as we have seen in our different
interactions of a Wheel of Time.3
studia universitatis her editati, letnik 3 (2015), številk a 2 64
hereditati
Similarly when we were asked to explain the When creating these metaphors the aes-
concepts surrounding electricity in an exhibito- thetic integrity of the interaction is completely
ry form we chose the starting point of the power integral to the outcome. Retaining the visitor’s
within people. With a first installation consort- belief in the interaction is what keeps estrange-
ing of a semi transparent concrete wall visitors ment at bay and focuses on the story you want
were asked to exude pressure on the wall which to tell. This is why quality is important. The ap-
had a large screen embedded in it. The visual re- pearance of latency etc. has to be without failure.
sult communicated, or primed, this as the in- It’s a magic trick and magic tricks don’t work if
forming metaphor4 of the exhibition. Now it you make MOST of the bunny rabbit disappear,
was easy to further explain the other forms of all your left with then are crying children.
energy through the exertion of power in the vis-
itor translated in the different kinds and trans- 6 Gagarin, „Eldhemar“, http://gagarin.is/work/eldheimar (2015-02-
lations of power, work, energy and electricity. 01).
Then the visitor is free to move, lift and pump
the information out of the exhibits.5
In creating a metaphor for the recent ex-
hibition for the town in the Westman islands
3 https://vimeo.com/153748339 (2016-02-01).
4 Lakoff, George and Mark Johnson, Metaphors We Live By (Chicago:
University of Chicago Press, 1980).
5 Gagarin, “Powering the Future”, http://gagarin.is/work/powe-
ring_the_future (2016-02-01).
in a kind skeuomorphism of interaction, the pre- choose to use again physical metaphors but here
tention of physicality. Physical pucks were cho- ones where the users act as first responders and
sen as the interactive elements for the table top excavators, using the camera to search in houses
rather than a touch screen interface, with to re- too dangerous to enter, pushing together the ru-
tain the physical, tangible aesthetic and to so to ined houses to see them in their original condi-
speak, to outsource complexity to the physical tion and fittingly an interactive sandbox where
world. Two pucks can for example not be at the visitors dig in actual sand from volcano ash to re-
sample place at the same time thus the social in- veal digital content about the things hidden un-
teraction of people solves any potential problem der the lava in this Pompeii Of the North.6
of two people competing for the same content. A
similar solution as we have seen in our different
interactions of a Wheel of Time.3
studia universitatis her editati, letnik 3 (2015), številk a 2 64
hereditati
Similarly when we were asked to explain the When creating these metaphors the aes-
concepts surrounding electricity in an exhibito- thetic integrity of the interaction is completely
ry form we chose the starting point of the power integral to the outcome. Retaining the visitor’s
within people. With a first installation consort- belief in the interaction is what keeps estrange-
ing of a semi transparent concrete wall visitors ment at bay and focuses on the story you want
were asked to exude pressure on the wall which to tell. This is why quality is important. The ap-
had a large screen embedded in it. The visual re- pearance of latency etc. has to be without failure.
sult communicated, or primed, this as the in- It’s a magic trick and magic tricks don’t work if
forming metaphor4 of the exhibition. Now it you make MOST of the bunny rabbit disappear,
was easy to further explain the other forms of all your left with then are crying children.
energy through the exertion of power in the vis-
itor translated in the different kinds and trans- 6 Gagarin, „Eldhemar“, http://gagarin.is/work/eldheimar (2015-02-
lations of power, work, energy and electricity. 01).
Then the visitor is free to move, lift and pump
the information out of the exhibits.5
In creating a metaphor for the recent ex-
hibition for the town in the Westman islands
3 https://vimeo.com/153748339 (2016-02-01).
4 Lakoff, George and Mark Johnson, Metaphors We Live By (Chicago:
University of Chicago Press, 1980).
5 Gagarin, “Powering the Future”, http://gagarin.is/work/powe-
ring_the_future (2016-02-01).
