Page 63 - Studia Universitatis Hereditati, vol. 3(2) (2015). Koper: Založba Univerze na Primorskem/University of Primorska Press.
P. 63
ia How to address Hyperobjects in exhibitions using emerginguniversitatis
63 technologies
Nils Wiberg
This paper will show some ways in which the interaction can harmonize with the interpretation and
the topic at hand. But it will also tackle the new forms of understanding and interpretation that have
emerged in recent years and how they can be translated in to interaction. It outlines the addition of an-
other O in the discourse: the operative one. Using examples of implementations it shows that together
can make palpable these new findings and perspectives to visitors of exhibitions in general and their in-
terpretation of Land in particular.
Keywords: Speculative Realism, Object Oriented Ontology, Philosophy, Exhibition Design, Interpre-
tive Planning, Land Use Interpretation, Emerging Technologies, New Interfaces
When designing the interaction for time capsules research center for the study of sea
cultural heritage, or any other mu- monsters. It ought to appear to have been frozen
seal experience it is optimal that in time at the turn of the 20th century and now
before one spatializes the interpretation and rediscovered and exhibited as such. The narra-
divides topics to find an underlying interacti- tive then took place on a sort of meta-level of an-
ve metaphor that holds for the entire experien- thropology.1
ce. That is to say in the same way as the visual
aesthetic must go hand in hand with the topic at To place a futuristic or even modern inter-
hand, so must the integration aesthetic. face in such a context would appear highly anach-
ronistic so what we instead did was to adapt the
Explanandum interaction aesthetic to the mechanistic ideals
of the time and just augment those interactions
For example when we were designing an instal- with the power of pixels.2 When the physical na-
lation for the sea monster museum in Bíldudalur ture of the wheels that moves the map creates a
in the north of Iceland, it was important to tailor natural form of momentum scrolling that, par-
the interaction to the complete narrative of the
museum. The concept of it was to tell the story of 1 Nils Wiberg, Use Qualities: An Organic Luxury We Can Afford. A Pri-
the cryptozoological past of the past of the Ice- mer and Implementation of how Organic Interfaces can Improve the Use
landic west fjords in a Harry-potteresque kind of Quality Affordance (Umeå: Umeå University, 2009).
doi: https://doi.org/10.26493/2350-5443.3(2)63–68 2 The results can be seen at http://gagarin.is/work/sea_monster_ta-
ble. (2016-02-01).
63 technologies
Nils Wiberg
This paper will show some ways in which the interaction can harmonize with the interpretation and
the topic at hand. But it will also tackle the new forms of understanding and interpretation that have
emerged in recent years and how they can be translated in to interaction. It outlines the addition of an-
other O in the discourse: the operative one. Using examples of implementations it shows that together
can make palpable these new findings and perspectives to visitors of exhibitions in general and their in-
terpretation of Land in particular.
Keywords: Speculative Realism, Object Oriented Ontology, Philosophy, Exhibition Design, Interpre-
tive Planning, Land Use Interpretation, Emerging Technologies, New Interfaces
When designing the interaction for time capsules research center for the study of sea
cultural heritage, or any other mu- monsters. It ought to appear to have been frozen
seal experience it is optimal that in time at the turn of the 20th century and now
before one spatializes the interpretation and rediscovered and exhibited as such. The narra-
divides topics to find an underlying interacti- tive then took place on a sort of meta-level of an-
ve metaphor that holds for the entire experien- thropology.1
ce. That is to say in the same way as the visual
aesthetic must go hand in hand with the topic at To place a futuristic or even modern inter-
hand, so must the integration aesthetic. face in such a context would appear highly anach-
ronistic so what we instead did was to adapt the
Explanandum interaction aesthetic to the mechanistic ideals
of the time and just augment those interactions
For example when we were designing an instal- with the power of pixels.2 When the physical na-
lation for the sea monster museum in Bíldudalur ture of the wheels that moves the map creates a
in the north of Iceland, it was important to tailor natural form of momentum scrolling that, par-
the interaction to the complete narrative of the
museum. The concept of it was to tell the story of 1 Nils Wiberg, Use Qualities: An Organic Luxury We Can Afford. A Pri-
the cryptozoological past of the past of the Ice- mer and Implementation of how Organic Interfaces can Improve the Use
landic west fjords in a Harry-potteresque kind of Quality Affordance (Umeå: Umeå University, 2009).
doi: https://doi.org/10.26493/2350-5443.3(2)63–68 2 The results can be seen at http://gagarin.is/work/sea_monster_ta-
ble. (2016-02-01).
