A summary in table form of major points from the day.
Still working on this!
Small, a 'waiting
area' for small business offices, a first contact, near the
cafe, near the market, in a converted old building. Things
are on wheels to move around if not working well where they
are. Chose HoloPro screens because important to work in
Big, purpose built,
modern, in the nightclub district. Based on established FACT
identity. Big gallery, smaller 'box' space with sunken
sofas, bars and cinema spaces on the top floor. Clive is
artist-advisor; the keyword is 'flexible' spaces for what
'Both Massless and
Moist'. Some projects have no body (such skywriting with
planes) and some are in the in the massive brick space of
bridge arches (cold and damp). Also, interactive works in
very public places like Jim Campbell's light walls.
Community led initiative from the Black Country. Ambitious, stunning building, which includes training, lifelong learning, community projects, public art and Gallery X. References to popular attractions and serious art discourse. Community/ quality/ local-international are keywords.
spaces, the conflict between 'linear' approach
(clear, prescriptive, which can help those inexperienced in
art spaces) and the 'radial' (loose, open,but doesn't
annoy the experienced). Also, between individual
use, and group experiences.
Discussion of whether it is
a domestic lounge (sofa, near market) or airport lounge
Has space with sunken sofas,
and is in the gallery and louche bar quarter. A louche
Did have 'amazingly
comfortable' loungers for in the Massless
Medium show, adding
comfort to a large and intimidating space.
Dotted rest and 'picnic
areas' around ramps. Must attract people in and have good
spaces for socialising e.g. cafes.
infers a social space, and soft/informal, which
artists object to.
Planned in 3 areas:
'5 min area' With passive information panels.
'10 min area' with stand-up interaction.
'30 min area' with sit-down terminals.
Video can cease to be a
'time-based medium' when in a gallery. A history of short
glance-times for visual art galleries (30 seconds maybe if
very lucky) makes it a particular problem for interactive
works and video.
With a history of
installation rather than video, 'we work in seconds'.
Minutes seem like a luxury.
Science museums and theme
parks DO do studies, but sometimes this is in order to herd
people around as in The Dome. Even so, exhibits are often 'a
bit too long'. Users 'need to know the level of 'commitment'
showed a very rough average of 7 minutes for some sit-down
single-screen artworks, much less for stand-ups. Some
evidence that women in particular spend shorter times on
pieces where their own body image is on screen, or very open
to the view of others.
Reception staff need to be
Invigilators need special
training, especially for disability access.
Security staff in many
different public locations need to be briefed, as people ask
Planned to have 'Ruttlers'
in all spaces to help.
had specially trained extra staff.
Is mainly building tenants,
their clients, students and cafe visitors.
Did research for
- organisations had a certain idea of how they were
perceived, which wasn't always true!
With projects like sky
writing, 'we get to use 'a million' a lot'. Gallery events
are mostly 'young, Caucasian'.
Projected to be the diverse
local community and UK tourists.
centres audience studies will be on Crumb.
Will try to get Clive's ACE report. Art galleries please
reveal your studies!
Would like to commission
Shifting focus from tactical
temporary projects to longer term programming. That a range
of priorities might be tested in this transition.
New media tends to get
treated as a novelty.
Avoiding the bad examples of
'theme-park' thinking with little content (the Dome, for
criticises 'The Novelty Hustle' of passing fashions. How can
we aim for longevity and seriousness? How can we fill these