NEWS
All the research and shared work of Architecture of Interaction has been brought together into a beautiful little book, now published!
An Architecture of Interaction
The book can be ordered in a mail sent to architectureofinteraction@gmail.com
This book has been made by makers for makers. It covers six important elements to consider when making an interactive work. The book’s main authors are the artists Anna Best, Yvonne Dröge Wendel, Nikolaus Gansterer, Lino Hellings, Mine Kaylan and Klaas Kuitenbrouwer, and was co-ordinated by Wietske Maas.
This publication would not be possible without the contributions by all those who took part in the Architecture of Interaction discussions and communications:
Alessio Antoniolli / Teike Asselbergs / Anthony Auerbach / Emer Beamer / Johannes Birringer / Claire Bishop /Jeroen Boomgaard / Marjolijn Boterenbrood/ Katie Boucher / Jason Bowman / Neil Chapman / Marco Cops / Esther Deens / Daniel Devlin / Onno Dirker / Lucia Farinati / Wapke Feenstra / Eva Fotiadi / Ella Gibbs / Menno Grootveld / Robin van t’Haar / Erik Hagoort / Janet Hand / Jeanne van Heeswijk / Arne Hendriks / Charlie Henry / Mel Hewitt and Andy Jordan / Lina Issa / Karen Janody / Yvonne Jansen / Justin Kenrick / Maria Kheirkhah / Jouke Kleerebezem / Katrin Korfman / Josia Krysa / Stefan Kueppers / Karen Lancel / Dees Linders / Rudy Luijters / Hermen Maat / Janice Mclaren / Anna Mendelsshon / Esther Polak / Emily Pringle / Nina Rave / Jellichje Reijnders / Paula Roush / Benjamin Sadler / Rebecca Sakoun / Anke Schäfer / Marjolein Schaap / Deborah Smith / Robert Steijn / Judith Stewart / Axel Stockburger / Marion Taenkle / Elias Tieleman / Nienke Terpsma / Raoul Teulings / Ronald van Tienhoven / Saliou Traore / Sarah Turner / Leanne Turvey / Radek Vana / Marcus Verhagen / Monique Verhoeckx / Christel Vesters / Axel Vogelsang / Simon Wallis / Jonathan Watkins / Cecilia Wee / Jeroen Werner / Stephen Willats / Katarina Zdjelar /Merav Yerushalmy / Sylvie Zijlmans / Inga Zimprich
ISBN: 978-90-9022039-0 Financial support for this project and publication was provided by Mondriaan Foundation and The Netherlands Foundation for Visual Arts, Design and Architecture (Fonds BKVB)
This publication is licensed under the Creative Commons Attribution-Noncommercial 2.5 License.
Pages: 72 Graphic design: Nienke Terpsma. Printing: Maastad, Rotteram 2007
Architecture of Interaction
Architecture of Interaction was initiated by Yvonne Dröge Wendel in collaboration with Lino Hellings, Klaas Kuitenbrouwer, Mine Kaylan, Anna Best Nikolaus Gansterer and Wietske Maas.
Together, these artists and theorists have been creating a set of tools and models to describe the processes and outcomes of interactive work. This toolkit consists of a standard vocabulary which can be used by individuals from different artistic backgrounds, as well as a set of models that describe six different critical dimensions of interactive working methods. The editors of this site want to connect vocabularies and ideas about art and interaction from various disciplines, namely theatre, visual arts, performance and new media.
Why?
The initiators (see below) have several reasons to do this. The interest in interactive artistic work methods continues to grow among makers, curators and commissioners. Yet, each discipline (and often each individual artist) has an independent means and language for describing interactive works. There is currently no commonality between these. As a result, there is often too little scope for communication between artists from different disciplines. Meaning that the nuanced and vital elements of interactive art works are overlooked.
So?
The main goal of making this toolkit is to make interactive work methods more transparent for makers, commissioners, curators, critics and interested audiences. In doing so, we hope to contribute to both artistic development of interactive works, and to a more sophisticated criticism in the practice and discourse of interactive works.
What works do we (the editors...) call interactive?
We see interactive work methods as a kind of meta-discipline -- a disclipline that informs other disciplines. Interactive work methods can be applied to any artistic discipline. Yet, at the same time, these methods have qualities and notions which are entirely their own. From the standpoint of the maker, an interactive work begins when the maker designs the form of the work, the context of the work AND the possible experiences or perceptions for others that come in contact with her work. We begin to speak about interactive works when a maker considers the critical context as an intrinsic part of the work.
Klaas Kuitenbrouwer, Yvonne Dröge-Wendel, Lino Hellings, Anna Best, Mine Kaylan, Nikolaus Gansterer, Wietske Maas
