Interference Modalities for Interaction and Performance Design

Luis Eustaquio

 
   

Abstract


While interactive media and its interfaces are susceptible to interference on technical and human dimensions, this is rarely considered by theoretical models found in the literature for describing or designing interactive settings and interfaces. This research explores modalities of interference as it affects agency in interactive and performative settings, by analysing a selection of artworks where this phenomenon becomes evident. As observed through the works discussed, modalities of interference redefine successful interaction as discovery of new potential, providing wider latitude for creative expression and collaborative engagement. Paths towards an aesthetics of interference are found on practical and conceptual levels. Challenges are identified, such as the difficulty in mastering highly variable interference, its cumulative increase, and the impossibility of anticipating the full spectrum of possible interference. As an agent for increased affordance generation and wider operational ability, on technical and cognitive levels, interference is demonstrated to be a factor of required consideration for a more informed observation and configuration of interactive and performative experiences.

Keywords


Interference, design, interaction, interface, aesthetics.

Full Text:

PDF

References


Auter, P. J., & Davis, D. M. (1991). When Characters Speak Directly to Viewers: Breaking the Fourth Wall in Television. Journalism Quarterly, 68(1-2), 165–171. https://doi.org/10.1177/107769909106800117

https://doi.org/10.1177/107769909106800117

Bongers, B. (2000). Physical interfaces in the electronic arts. Trends in Gestural Control of Music, 41–70.

Bongers, B., & van der Veer, G. C. (2007). Towards a Multimodal Interaction Space: categorisation and applications. Personal and Ubiquitous Computing, 11(8), 609–619. https://doi.org/10.1007/s00779-006-0138-8

https://doi.org/10.1007/s00779-006-0138-8

Brinkmann, T. (2010). LIVE @ TAICO CLUB camps . Live performance in Japan, Kodama no Mori. Retrieved from https://www.youtube.com/watch?v=eNEEjbBbdqo

Burns, C. (2002). Realizing Lucier and Stockhausen: Case Studies in the Performance Practice of Electroacoustic Music. Journal of New Music Research, 31(1), 59–68. https://doi.org/10.1076/jnmr.31.1.59.8104

https://doi.org/10.1076/jnmr.31.1.59.8104

Cage, J. (1938). Bacchanale, for Prepared Piano. Retrieved February 3, 2017 from http://johncage.org/pp/John-Cage-Work-Detail.cfm?work_ID=32

Cage, J. (1939). Imaginary Landscape No. 1 [Live performance]. Retrieved from http://www.medienkunstnetz.de/works/imaginary-landscape-1/audio/1/

Cascone, K. (2004). The aesthetics of failure: "Post-digital" tendencies in contemporary computer music. In C. Cox & D. Warner (Eds.), Audio Culture: Readings in Modern Music. A&C Black.

Collins, N. (2009). Handmade Electronic Music: The Art of Hardware Hacking (2nd edition). New York: Routledge.

Cox, C., & Warner, D. (2004). The beauty of noise: an interview with Masami Akita of Merzbow. In Audio Culture: Readings in Modern Music. A&C Black.

Durland, S. (2016). Defining the image as place: a conversation with Kit Galloway, Sherrie Rabinowitz, and Gene Youngblood. In J. Malloy (Ed.), Social Media Archeology and Poetics. MIT Press.

Eustáquio, L. (2016). Evaluating engagement in aesthetic interaction through prosody. In Proceedings of UD15: periphery and promise - 4th PhD in design forum (pp. 344–353). Porto: PhD in Design Program, Faculty of Fine Arts, University of Porto, Portugal.

Feynman, R. P., Leighton, R. B., & Sands, M. (1977). The Feynman Lectures on Physics, Vol. 1: Mainly Mechanics, Radiation, and Heat (1st ed.). United States of America: Addison Wesley.

Gere, C. (2008). Digital Culture (2nd rev.). London: Reaktion Books.

Ghazala, R. (2005). Circuit-Bending: Build Your Own Alien Instruments (1st edition). Indianapolis, IN: Wiley.

Gibson, J. J. (1986). The Ecological Approach To Visual Perception (1st edition). Boston: Psychology Press.

Howard, D. (2005). The Penguin Dictionary of Electronics (4th rev.). Penguin.

Howse, M. (2014). Sketches for an Earth Computer [Installation]. Retrieved from http://www.1010.co.uk/org/sketches.html

Hummels, C., & Overbeeke, K. (2010). Special Issue Editorial: Aesthetics of Interaction. International Journal of Design, 4(2), 1–2.

Latour, B. (1994). On Technical Mediation. Common Knowledge, 3(2), 29–64.

Levin, G., Sugrue, C., & McDonald, K. (2014). Augmented Hands Series [Installation]. Retrieved from http://www.flong.com/projects/augmented-hand-series/

Liddell, P. (2010). I Am Sitting in a Video Room [Video]. Retrieved from https://youtu.be/icruGcSsPp0

Liddell, P. (n.d.). ONTOLOGIST Music, Visuals, Meaning. Retrieved November 1, 2017, from https://www.ontologistmusic.com/bio

Lucier, A. (1969). I Am Sitting in a Room [Live performance]. Retrieved from http://www.ubu.com/sound/lucier.html

Marclay, C., & Tone, Y. (2004). Record, CD, Analog, Digital. In C. Cox & D. Warner (Eds.), Audio Culture: Readings in Modern Music. A&C Black.

McLuhan, M., & McLuhan, E. (1992). Laws of Media: The New Science (New edition). Toronto; Buffalo: University of Toronto Press.

Menkman, R. (2011). The Glitch Moment(um). Amsterdam: Institute of Network Cultures.

Merzbow. (n.d.). Merzbow. Retrieved November 1, 2017, from http://merzbow.net

Meyer, K. (2017, January 29). The Aesthetic-Usability Effect. Retrieved February 3, 2017, from https://www.nngroup.com/articles/aesthetic-usability-effect/

Negativland. (n.d.). Negativland. Retrieved November 1, 2017, from http://www.negativland.com

Norman, D. A. (1984). Stages and levels in human-machine interaction. International Journal of Man-Machine Studies, 21(4), 365–375.

https://doi.org/10.1016/S0020-7373(84)80054-1

Norman, D. A. (1999). Affordance, Conventions, and Design. Interactions, 6(3), 38–43. https://doi.org/10.1145/301153.301168

https://doi.org/10.1145/301153.301168

Qvortrup, L. (1998). The Aesthetics of Interference: From Anthropocentric to Polycentric Self-Observation and the Role of Digital Media. In Digital Arts and Culture 98. Bergen, Norway.

Reich, S. (Ed.). (1974). Writings About Music. New York: University Press.

Rimbaud, R. (2002). Salle des départs [Sound installation]. Retrieved from http://www.scannerdot.com/art/2002/salles.html

Ross, P. R., & Wensveen, S. A. G. (2010). Designing behavior in interaction: Using aesthetic experience as a mechanism for design. International Journal of Design, 4(2), 3–13.

Russolo, L. (2004). The art of noises: futurist manifesto. In C. Cox & D. Warner (Eds.), Audio Culture: Readings in Modern Music. A&C Black.

Schaeffer, P. (2004). Acousmatics. In C. Cox & D. Warner (Eds.), Audio Culture: Readings in Modern Music. A&C Black.

Schomaker, L., Nijtmans, J., Camurri, A., Lavagetto, F., Morasso, P., & Benoît, C. (1995). A taxonomy of multimodal interaction in the human information processing system.

Seliger, J. (n.d.). Interview with Jonathan Seliger. Retrieved from http://www.jca-online.com/marclay.html

Shannon, C. E. (1948). A mathematical theory of communication. Bell System Technical Journal, 27, 379–423.

https://doi.org/10.1002/j.1538-7305.1948.tb01338.x

Theremin, L. S., & Petrishev, O. (2016). The Design of a Musical Instrument Based on Cathode Relays. Leonardo Music Journal, 6(1), 49–50.

Udsen, L. E., & Jørgensen, A. H. (2005). The aesthetic turn: unravelling recent aesthetic approaches to human-computer interaction. Digital Creativity, 16(4), 205–216. https://doi.org/10.1080/14626260500476564

https://doi.org/10.1080/14626260500476564

Weaver, W. (1949). The mathematics of communication. Scientific American, 181(1), 11–15.

https://doi.org/10.1038/scientificamerican0749-11

Winner, L. (1980). Do Artifacts Have Politics? Daedalus, 109(1), 121–136.

Xenakis, I., & Arnellos, A. (2013). The relation between interaction aesthetics and affordances. Design Studies, 34(1), 57–73. https://doi.org/10.1016/j.destud.2012.05.004

https://doi.org/10.1016/j.destud.2012.05.004

Xenakis, I., & Arnellos, A. (2014). Aesthetic perception and its minimal content: A naturalistic perspective. Frontiers in Psychology, 5(SEP). https://doi.org/10.3389/fpsyg.2014.01038

https://doi.org/10.3389/fpsyg.2014.01038

Young, T. (1802). The Bakerian lecture: On the theory of light and colours. Philosophical Transactions of the Royal Society of London, 92, 12–48.

https://doi.org/10.1098/rstl.1802.0004




DOI: http://dx.doi.org/10.7559/citarj.v9i3.431

Refbacks

  • There are currently no refbacks.




Journal of Science and Technology of the Arts
Revista de Ciência e Tecnologia das Artes
ISSN: 1646-9798
e-ISSN: 2183-0088
Portuguese Catholic University | Porto


Esta revista científica é financiada por Fundos Nacionais através da FCT – Fundação para a Ciência e a Tecnologia


 Governo da República Portuguesa