Discovering the potential of outdoor screens for urban society
Paul Martin Lester, Urban Screens: the beginning of a universal visual culture
Scott MQuirce, The politics of public space in the media city
Lev Manovich, The poetics of urban media surfaces
Anthony Auerbach, Interpreting urban screens
Rekha Murthy, Story space: A theoretical grounding for the new urban annotation
Wael Salah Fahmi, The urban incubator: (De)constructive (re)presentation of heterotopian spatiality and virtual image(ries)
Tore Slaatta, Urban screens: Towards the convergence of architecture and audiovisual media
Ava Fatah gen. Schieck, Towards an integrated architectural media space
Julia Nevárez, Art and social displays in the branding of the city: Token screens or opportunities for difference?
Raina Kumra, Hijacking the urban screen: Trends in outdoor advertising and predictions for the use of video art and urban screens
Giselle Beiguelman, For an aesthetics of transmission
Vera Bühlmann, Intelligent skin: Real virtual
Kate Taylor, Programming video art for urban screens in public space
This should be interestiing reading for a panel I am chairing at the CAA conference in February.
The Responsive City – Fact or Fiction?
Steve Dietz, Artistic Director 01SJ Biennial and Northern Lights.mn
Cameron, McNall, Electroland
Ben Rubin, Ear Studio
Barbara Goldstein, City of San Jose Public Art Program
Mark Shepard, SUNY Buffalo
“This panel will examine the experience of artists and presenters with large-scale, long-term interactive art in the public sphere and the pragmatic, conceptual and philosophical issues such projects engender.
“There is a significant history of festival and exhibition-based public programming of interactive works but long-term and permanent installations are less common. The possibilities for large-scale, interactive art in the public sphere are increasing exponentially, however, and this panel will consist of at least two artists and a presenter, who will discuss their projects in relation to the pragmatics of production and the histories of public and new media art practices, as well as the intersection with civic and economic imperatives embodied in the notion of the creative city. A respondent will critique these projects in relation to issues of agency, free speech and spectacle.”