Aesthetics d 17.08.15 09:42:59 til 09:44:33

We are living in an interface culture: wherever we are, we find touch screens, microphones, sensors, cameras; and we are constantly reminded of interfaces through their sounds. We are simultaneously using it as a tool and communicating with it as a medium. We analyzed the data with particular emphasis on people’s experiences of the literary interaction through a performative lens. These interactions make it possible for people to affectively and ergodically engage with digital literature and the role of the library today.

Aesthetics d 17.08.15 09:40:43 til 09:41:51

These can change the users’ perception of the installation. When the user squeezes harder, the text changes, tied to the intensity of the squeezing. Further, it was to be in a different format from that which can be experienced by readers at home, in front of a PC, on a smartphone or a tablet. To our surprise, the visitors we observed and interviewed did not explicitly question nor, even when directly asked, reflect upon in which way the artworks were ‘served’ to them.

With Webstrates, users can actually add and remove instruments at run-time.

Design d 14.08.15 10:41:29 til 10:42:27

This article is organised in the following manner:

At the same time, Alice uses a more sophisticated vector graphics editor to clean up the lines. Content is represented both in an easy-to-store text format (HTML) and as objects in a standardized Docu- ment Object Model (DOM). Each of the books is secured to its podium with a wire, and has a title written on it with a white circle in the center indicating that it can be squeezed. The dismissal of mediation is a driving force in much IT development, and has been framed as ’Virtual Reality’, ’Augmented Reality’, ’Bodily Interaction’, ’Calm Computing’ as well as design parameters such as minimalism, user friendliness, seamless interaction, etc.

Aesthetics d 14.08.15 10:39:57 til 10:40:25

We are living in an interface culture: wherever we are, we find touch screens, microphones, sensors, cameras; and we are constantly reminded of interfaces through their sounds.

Further, it was to be in a different format from that which can be experienced by readers at home, in front of a PC, on a smartphone or a tablet. This interaction can develop into a deep, continued engagement with the installation through the production of user-generated content. Three decades later, the table is turning:

Aesthetics d 14.08.15 10:38:24 til 10:39:04

When a person picks up one of the books it senses the movement, and a piece of “paper” materializes on the screen. Today, we see a wide range of attempts to explore what it means to design for various settings and types of interaction, which are often at the edge of designerly and artistic experimentation.

It goes beyond ease-of-use, and suggests ways to design for literary interaction and considering users as reader-writers. Already during WW2, the computer was used for ballistics as well as cryptology.

Aesthetics d 14.08.15 10:34:00 til 10:34:44

Consequently, the interaction is often described as “game-like”, or “just like Playstation”.

Over the last decade tabletop computing has gained significant interest in both academia and the industry. In more general terms, participation as partial and overtaken presents three challenges to design. In more general terms, participation as partial and overtaken presents three challenges to design. Our experience is that the process of manually aligning the grid is laborious and error prone, and even if the alignment is done extremely meticulously the compensation is too coarse.

Design d 14.08.15 10:32:42 til 10:33:44

Participation as a matter of concern goes against universal standards for participation and the ability to claim, as a matter of fact, what is and what is not participation. Hence, the client needs nothing but a wireless network interface and a standard web browser. She prefers editing in a plain text style, with a corresponding set of sophisticated layout and citation tools; whereas Bob uses a WYSIWYG editor with a print preview style that matches the final print layout. With this, the user is reminded of an interaction that is not purely functional.

Aesthetics d 14.08.15 10:30:56 til 10:31:16

Further, it was to be in a different format from that which can be experienced by readers at home, in front of a PC, on a smartphone or a tablet. With this, the user is reminded of an interaction that is not purely functional.

Others (like the game-interface) are oriented towards human cognition and cultural traditions. At these events, thousands have been, and will be, exposed to the workings of digital literature for the first time. This interaction can develop into a deep, continued engagement with the installation through the production of user-generated content.

Computing d 14.08.15 10:29:44 til 10:30:40

The main difference is that we use web-based technologies and do not use a 3D environment. The tool proposes four lenses to critically reflect on the nature of a PD effort: These appear as icons, menus, command lines, signal sounds, speech control as well physically through buttons and other control units. The first point of emphasis concerns the context of Ink and how this staged people’s performative interactions. These interactions make it possible for people to affectively and ergodically engage with digital literature and the role of the library today.

Aesthetics d 14.08.15 10:28:04 til 10:28:24

For example, answers varied greatly when users were asked whether they regarded the poems as literature. We watched the videos and wrote summaries of the contents, focusing primarily on the performative, ergodic, and affective characteristics of the users’ experiences. These can change the users’ perception of the installation. On some occasions the user is seduced to interact without negotiating this relation – often through “gamification” and the use of play and narrative.

When the user squeezes harder, the text changes, tied to the intensity of the squeezing.