Regarding value in digital serendipitous interactions

Main Article Content

Ricardo Melo
Miguel Carvalhais
https://orcid.org/0000-0002-4880-2542

Abstract

Digital technologies have become our privileged method of interacting with information. With their ubiquity, and focus on personalisation, optimisation and functionality, chance and accidental interactions in the Digital Medium are being replaced with filtered, predictable and known ones, limiting the scope of possible user experiences. In order to promote the design of richer experiences that go beyond the functionally-driven paradigm, we propose that digital systems be designed in order to favour serendipity. Through a literature-based analysis of serendipity, we explore the distinct meanings of value that are possible with serendipitous systems, offering examples of the current state of the art, observing the methods used to do so, and proposing a possible typology, while highlighting unexplored fields, experiences and interactions. 

Keywords: Serendipity, Interaction, Experience, Digital medium, Design, Defamiliarisation, Creativity

Downloads

Download data is not yet available.

References

Adamczyk, P. D., Hamilton, K., Twidale, M. B., & Bailey, B. P. (2007). Hci and new media arts: methodology and evaluation.

Best, S., & Kellner, D. (1999). Debord, cybersituations, and the interactive spectacle. SubStance, 28(3), 129-156. https://doi.org/10.1353/sub.2006.0002

Bolter, J. D., & Grusin, R. (2000). Remediation: Understanding New Media (1st ed.). The MIT Press.

Boyle, A., Gonzalez, D., Johnson, T., Pau, S., & Wetterlund, K. (2006). MoMA Learning, Conceptual Art. Retrieved October 2013, 2013 from http://www.moma.org/learn/moma_learning/themes/conceptual-art

Cascone, K. (2000). The aesthetics of failure: 'Post-digital' tendencies in contemporary computer music. Computer Music Journal, 24(4), 12-18. https://doi.org/10.1162/014892600559489

Charnley, J., Pease, A., & Colton, S. (2012). On the notion of framing in computational creativity. Proceedings from Third International Conference on Computational Creativity, Dublin.

Chilvers, I., & Glaves-Smith, J. (2010). A Dictionary of Modern and Contemporary Art (Oxford Paperback Reference) (2 ed.). Oxford University Press, USA. Ret

Danto, A. (1964). The artworld. The journal of philosophy, 61(19), 571-584. https://doi.org/10.2307/2022937

Dickie, G. (1974). Art and the aesthetic: An institutional analysis (34). Cornell University Press Ithaca, NY.

Drucker, J. (2006). Interactive, algorithmic, networked: aesthetics of new media art. In At a distance: Precursors to art and activism on the Internet. Cambridge: The MIT Press.

Duchamp, M. (1957). The Creative Act.

Fischer, H. (2000). A Crisis in Contemporary Art? Leonardo, 33(1), 75-77. https://doi.org/10.1162/002409400552153

Gambino, M. (2011). Ask an Expert: What is the Difference Between Modern and Postmodern Art? Retrieved September 25, 2013 from http://www.smithsonianmag.com/arts-culture/Ask-an-Expert-What-is-the-difference-between-modern-and-postmodern-art.html

Graham, B., & Cook, S. (2010). Rethinking Curating: Art after New Media (First Edition ed.). The MIT Press.

Hernsberger, E. (2006). Photography as readymade art. Texas Tech University, South Plains.

Ippolito, J. (2008). Death by wall label. In C. Paul (Ed.), New Media in the White Cube and Beyond: Curatorial Models for Digital Art. Berkeley.

Jones, A. (2002). The "Eternal Return": Self‐Portrait Photography as a Technology of Embodiment. Signs, 27(4), 947-978. https://doi.org/10.1086/339641

Jordà, S. (2004). Instruments and Players: Some thoughts on digital lutherie. Journal of New Music Research, 33(3), 321-341. https://doi.org/10.1080/0929821042000317886

Kosuth, J., Guercio, G., & Lyotard, J.-F. (1991). Art after philosophy and after: collected writings, 1966-1990. Mit Press Cambridge, Mass.

Landes, W. (2000). Copyright, borrowed images and appropriation art: an economic approach. U Chicago Law & Economics, Olin Working Paper, 113). https://doi.org/10.2139/ssrn.253332

Lippard, L. (1967). Ad Reinhardt's retrospective catalogue (Jewish Museum), as cited by Joseph Kosuth in "Art after philosophy and after"., 12.

Manovich, L. (2002). The Language of New Media (First Edition ed.). The MIT Press.

Manovich, L. (2013). Software Takes Command (INT ed.). Bloomsbury Academic.

McLuhan, M. (1966). Understanding Media: the extensions of man (5th Printing ed.). Magraw-Hill.

Mitchell, B. (1999). The Pioneers: Myron W. Krueger.

Paul, C. (2003). Digital art. Thames & Hudson.

Perlin, K. (2002). In the beginning: The Pixel Stream Editor, Course 36 Notes. Real Time Shading. Proceedings from SIGGRAPH 2002, San Antonio.

Rieser, M. (2002). The art of interactivity: Interactive installation from gallery to street. Computers and Art, 81-96.

Rush, M. (2005). New media in art. London, UK: Thames & Hudson.

Tribe, M., Jana, R., & Grosenick, U. (2006). New Media Art (Taschen Basic Art Series). Taschen.

Weinbren, G. (1997). The digital revolution is a revolution of random access. Telepolis (online magazine) Heise.