The Art and Craft of Being Elsewhere

GREY HAVENS
8 days

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MORDOR
5 months 22 days

Andrea Resmini
The Art and Craft of Being Elsewhere
Flextrack, IA Summit 2011, Denver

pervasive information architecture
http://pervasiveia.com/

ANDREA RESMINI :: THE ART AND CRAFT OF BEING ELSEWHERE

how is that we do not get
lost in movies?


#1 context is spatial


d resmini where's that pic of
Parksy dancing naked on the table
in the boss' office?


In your room with a friend
http://www.flickr.com/photos/46037115@N04/4233027629/


@resmini where's that pic of
Parksy dancing naked on the table
in the boss' office?


In a stadium with a crowd
http://gm25liveen.web-log.nl/george_michael_25_live_en/blog/index.html


media always imply spatial
relationships


not understanding them = bad


(Note: not Parksy)


#2 communication is abstraction


Grotte Genovesi
Abstraction and rhythm in cave paintings (Sicily, Italy)


#3 we understand the abstract
by means of the concrete


Getting lost in space
Le Petit Poucet, or Little Thumb


Getting lost in time
Scarlett Johansson revives Cinderella for Disney


MUSIC
LANGUAGE
MATHEMATICS
RHYTHM

SPACE TIME


what is space?


Space
Some remote area of the Moon (http://commons.wikimedia.org/wiki/File:NASA_Apollo_11_photo_AS11-40-5967.jpg)


Space
Some remote cold area of the Earth


space is the base experience of
our embodiment as human beings,
and it is objective, impersonal,
undifferentiated


#4 semantic or digital space, or
the Web, do not map precisely to
a single physical representation


The Internet
The Internet as connected nodes in terms of abstract network traffic


The Internet
The Internet as a resource


they can be places, and they need
to be places if they want to
provide satisfying experiences


what is place?


Place
I swear this is not my workplace


Place
Totem pole and community house in Tlingit, British Columbia


Place
The home of Bilbo Baggins, Esq. as Tolkien originally envisioned it


place involves, besides physical
space, memories, experiences,
and behavioral patterns: it is
personal, subjective, and
communitarian


Place is like home
Judith Mackey, Celebrate Me Home. Z-Bar Ranch in Snow, Flint Hills, Kansas (www.phnxgallery.com/page/page/2118275.htm)


The Internet is a place
A fake Facebook page for Pope Benedict XVI


so, how do we communicate
space and place?


we evolved languages
for being elsewhere


Masaccio's Tribute Money
http://2.bp.blogspot.com/_CijcaA9yq58/S7vaxhkeg_I/AAAAAAAAFd0/eFgqLjxkgn4/s1600/Good+Tribute+Money+copy.jpg


2 1 3
The Tribute: structure


Miller's Dark Knight Returns
DC Comics, 1986


1
1
1
The Dark Knight Returns: structure
DC Comics, 1986

1

Filming in studio
Schneider – Sörensen, Vor Tids Dame, 1912

The Great Train Robbery
Edwin S. Porter, 1903 (Library of Congress)

Frankenstein
J. Searle Dawley, 1910 (http://www.youtube.com/watch?v=TcLxsOJK9bs)

Theatre
Acting conventions and fixed camera point of view contributed to placing the audience in front of the scene

SCENE

CAMERA POV

AUDIENCE


no spatial articulation

The Lonely Villa
Biograph, 1909 (from Persson, P. (2005). Understanding Cinema)

SCENE

OUTSIDE SPACE

CAMERA POV

AUDIENCE

The Musketeers of Pig Alley
Sight link establishes an adjacent space outside of the audience current view (1912)

SCENE 1 SCENE 2

CAMERA POV CAMERA POV

AUDIENCE AUDIENCE

Dr. Jekyll and Mr. Hyde
Thanhouser, 1912 (from Persson, P. (2003). Understanding Cinema.)


“ The enlargement of the engraved
wedding announcement appears as an
entirely new picture. The room
suddenly disappears and the hand
which holds the card flashes up.
Again when we have read the card,
it suddenly disappears and we are “
in the same room again


SOMEWHERE ELSE

1 2

SCENE SCENE


not a technical constraint at all
it's a semantic constraint


“ Another marked peculiarity of the
Impressionists is the truncated
composition, the placing in the
foreground of the picture of
fragments of figures and objects.
There is thought and purpose in “
this apparent oddness.

Child, 1887


com/d/arthistory/1/0/I/n/gc_bm_0309_04.jpg

Oarsmen rowing on the Yerres
Gustave Caillebotte, 1877 (http://z.about.com/d/arthistory/1/0/I/n/gc_bm_0309_04.jpg)


New Orleans Cotton Exchange
Edgar Degas, 1873 (http://en.wikipedia.org/wiki/File:Cottonexchange1873-Degas.jpg)


Place de la Concorde
Edgar Degas, 1875 (http://en.wikipedia.org/wiki/File:Edgar_Degas_Place_de_la_Concorde.jpg)


we are inside the paintings


place-making in movies has
evolved and allows now complex
narratives


Pulp Fiction
Q. Tarantino, 1994


Day of the Tentacle
LucasArts, 1993


Alone in the dark
Infogrames, 1993

place-making in videogames has
evolved


#5 visual and narrative syntax
might differ, but successful
experiences strive for place-
making


A map of Arkham, MA
Central Arkham in a handwritten map drawn by H. P. Lovecraft


it would even be an interesting
place, if not for the fact that
it only exists in fiction

Dark Corners of the Earth
A Call of Cthulhu game from Headfirst Productions, 2K and Bethesda, 2005


we need place, but place has
nothing to do with 'real': it
has to do with being there


SPACE PLACE
FINE ARTS

OUTSIDE CINEMA INSIDE

OUTSIDE VIDEOGAMES INSIDE

OUTSIDE CYBERSPACE INSIDE

STATIC DYNAMIC


we are still figuring out how to
do place-making in cross-
channel, pervasive information
architectures


we need to figure out ways
for being there. Like this:


Visit the Shire
http://www.hobbitontours.com/


Be inside the painting
The home of Bilbo Baggins in New Zealand


Thank you

Twitter: @resmini
Book: http://pervasiveia.com/

The Art and Craft of Being Elsewhere

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